i 
I 


BY  THE  SAME  AUTHOR 


LORENZO  LOTTO 

AN  ESSAY  IN  CONSTRUCTIVE  ART 
CRITICISM 

Illustrated  with  thirty  reproductions  of  the 
most  interesting  pictures  by  Lotto  and  his  master, 
Alvise  Vivarini,  very  few  of  which  have  ever 
been  reproduced  before,  a  good  part  of  them 
being  photographed  for  the  first  time,  expressly 
for  this  work.    8vo,  $3.50. 

G.  P.  Putnam's  Sons 

NEW  YORK  &  LONDON 


Shepherd  with  Pipe. 
From  the  Painting  by  Giorgione,  at  Hampton  Court. 


THE  VENETIAN  PAINTERS 

OF 

THE  RENAISSANCE 

WITH  AN   INDEX  TO  THEIR  WORKS 


13  Y 

BERNHARD  BERENSON 


SECOND  EDITION 


G.  P.  PUTNAM'S  SONS 

NEW  YORK  LONDON 

27  WEST  TWENTY-THIRD  STREET  24  BEDFORD  STREET,  STRAND 

&\t  ^mtheibcther  $)ress 
1895 


COPYRIGHT,  1894 
BY 

G.  P.  PUTNAM'S  SONS 
Entered  at  Stationers'  Hall^  London 
By  G.  P.  Putnam's  Sons 


Electrotyped,  Printed  and  Bound  by 

Zbe  Iknfcfcerbocfcer  press,  IRew  JJorfc 

G.  P.  Putnam's  Sons 


THE  GETTY  CENTER 
LIBRARY 


PREFACE  TO  THE  SECOND 
EDITION. 


HE  indices  of  this  second   edition  have 


been  carefully  revised,  and  a  considerable 
number  of  additions  have  been  made  to  the 
lists. 

The  author  begs  once  more  to  call  attention 
to  the  fact  that,  with  one  or  two  exceptions, 
he  has  mentioned  no  pictures  that  he  has  not  seen. 
The  lists  are  the  result,  not  of  compilation, 
but  of  first-hand  acquaintance  with  the  works 
of  art. 


iii 


PREFACE. 


HE  following  essay  owes  its  origin  to  the 


author's  belief  that  Venetian  painting  is 
the  most  complete  expression  in  art  of  the 
Italian  Renaissance.  The  Renaissance  is  even 
more  important  typically  than  historically. 
Historically  it  may  be  looked  upon  as  an  age 
of  glory  or  of  shame  according  to  the  different 
views  entertained  of  European  events  during 
the  past  five  centuries.  But  typically  it  stands 
for  youth, v  and  youth  alone — for  intellectual 
curiosity  and  energy  grasping  at  the  whole  of 
life  as  material  which  it  hopes  to  mould  to  any 
shape. 

Every  generation  has  an  innate  sympathy 
with  some  epoch  of  the  past  wherein  it  seems 
to  find  itself  foreshadowed.  Science  has  of  late 
revealed  and  given  much,  but  its  revelation  and 


V 


vi 


PREFACE 


gifts  are  as  nothing  to  the  promise  it  holds  out 
of  constant  acquisition  and  perpetual  growth, 
of  everlasting  youth.  We  ourselves,  because  of 
our  faith  in  science  and  the  power  of  work, 
are  instinctively  in  sympathy  with  the  Renais- 
sance. Our  problems  do  not  seem  so  easy  to 
solve,  our  tasks  are  more  difficult  because  our 
vision  is  wider,  but  the  spirit  which  animates 
us  was  anticipated  by  the  spirit  of  the  Renais- 
sance, and  more  than  anticipated.  That  spirit 
seems  like  the  small  rough  model  after  which 
ours  is  being  fashioned. 

Italian  painting  interests  many  of  us  more 
than  the  painting  of  any  other  school  not  be- 
cause of  its  essential  superiority,  but  because 
it  expressed  the  Renaissance  ;  and  Venetian 
painting  is  interesting  above  all  because  it  was 
at  Venice  alone  that  this  expression  attained 
perfection.  Elsewhere,  particularly  in  Florence, 
it  died  away  before  it  found  complete  utter- 
ance. 

In  order  to  keep  the  main  idea  clearly  be- 
fore the  mind  of  the  reader,  to  show  him  how 
the  Renaissance  reveals  itself  in  Venetian 
painting,  the  introduction   of   anything  not 


PREFACE 


vii 


strictly  relevant  to  the  subject  has  been 
avoided.  The  salient  points  once  perceived 
and  connected  with  the  more  important 
painters,  the  reader  will  find  no  difficulty  in 
seeing  the  proper  place  of  any  given  work  by 
a  great  master,  or  the  relative  importance  of 
those  second-  and  third-rate  painters  of  whom 
no  special  mention  has  been  made  because  they 
are  comprised  within  what  has  been  said  about 
the  greater  artists. 

But  happily  art  is  too  great  and  too  vital  a 
subject  to  be  crowded  into  any  single  formula ; 
and  a  formula  that  would,  without  distorting 
our  entire  view  of  Italian  art  in  the  fifteenth 
century,  do  full  justice  to  such  a  painter  as 
Carlo  Crivelli,  does  not  exist.  He  takes  rank 
with  the  most  genuine  artists  of  all  times  and 
countries,  and  does  not  weary  even  when 
"  great  masters  "  grow  tedious.  He  expresses 
with  the  freedom  and  spirit  of  Japanese  design 
a  piety  as  wild  and  tender  as  Jacopo  da  Todi's, 
a  sweetness  of  emotion  as  sincere  and  dainty 
as  of  a  Virgin  and  Child  carved  in  ivory  by  a 
French  craftsman  of  the  fourteenth  century. 
The  mystic  beauty  of  Simone  Martini,  the 


viii 


PREFACE 


agonized  compassion  of  the  young  Bellini,  are 
embodied  by  Crivelli  in  forms  which  have  the 
strength  of  line  and  the  metallic  lustre  of  old 
Satsuma  or  lacquer,  and  which  are  no  less 
tempting  to  the  touch.  Crivelli  must  be 
treated  by  himself  and  as  the  product  of  sta- 
tionary, if  not  reactionary,  conditions.  Having 
lived  most  of  his  life  far  away  from  the  main 
currents  of  culture,  in  a  province  where  St. 
Bernardino  had  been  spending  his  last  energies 
in  the  endeavour  to  call  the  world  back  to  the 
ideals  of  an  infantile  civilisation,  Crivelli  does 
not  belong  to  a  movement  of  constant  progress, 
and  therefore  is  not  within  the  scope  of  this 
work. 

To  make  the  essay  useful  as  a  handbook  to 
Venetian  painting,  lists  have  been  appended  of 
the  works,  in  and  out  of  Italy,  by  the  principal 
Venetian  masters.  These  lists  do  not  pretend 
to  absolute  completeness.  Only  such  private 
collections  have  been  mentioned  as  are  well 
known  and  accessible  to  students,  although  in 
the  case  of  very  rare  painters  all  of  their  known 
works  are  given,  and  even  such  as  are  of  doubt- 
ful authenticity  are  alluded  to.    The  author 


PREFACE 


ix 


has  seen  and  carefully  considered  all  the  pic- 
tures he  mentions,  except  one  or  two  at  St. 
Petersburg,  which  are,  however,  well  known 
from  the  photographs  of  MM.  Braun  &  Cie. 
The  attributions  are  based  on  the  results  of  the 
most  recent  research.  Even  such  painstaking 
critics  of  some  years  ago  as  Messrs.  Crowe  and 
Cavalcaselle  laboured  under  terrible  disadvan- 
tages, because  most  of  their  work  was  done  at 
a  time  when  travelling  was  much  slower  than 
it  has  now  become,  and  when  photography 
was  not  sufficiently  perfected  to  be  of  great 
service.  Rapid  transit  and  isochromatic  pho- 
tography are  beginning  to  enable  the  student 
to  make  of  connoisseurship  something  like  an 
exact  science.  To  a  certain  extent,  therefore, 
Messrs.  Crowe  and  Cavalcaselle  have  been 
superseded,  and  to  a  great  degree  supple- 
mented by  the  various  writings  of  Morelli, 
Richter,  Frizzoni,  and  others.  The  author  takes 
pleasure  in  acknowledging  his  indebtedness  to 
the  first  systematic  writers  on  Italian  painting 
no  less  than  to  the  perfectors  of  the  new  critical 
method,  now  adopted  by  nearly  all  serious 
students  of  Italian  art.    To  the  founder  of 


X 


PREFACE 


the  new  criticism,  the  late  Giovanni  Morelli, 
and  to  his  able  successor,  Dr.  Gustavo  Frizzoni, 
the  author  feels  bound  to  ascribe  many  of  his 
attributions,  although  a  number  are  based  on 
independent  research,  and  for  these  he  alone  is 
responsible.  Special  thanks  are  due  to  a  dear 
friend,  Enrico  Costa,  for  placing  his  notes  of  a 
recent  visit  to  Madrid  at  the  author's  disposal. 
They  have  been  used,  with  a  confidence  war- 
ranted by  Signor  Costa's  unrivalled  connois- 
seurship,  to  supplement  the  author's  own  notes, 
taken  some  years  ago. 

Having  noted  the  dependence  of  scientific 
art  study  upon  isochromatic  photography,  the 
author  is  happy  to  take  this  opportunity  of  ex- 
pressing his  gratitude  to  such  able  photogra- 
phers as  Lowy  of  Vienna,  Tamme  of  Dresden, 
Marcozzi  of  Milan,  Alinari  Bros,  of  Florence, 
and  Dominic  Anderson  of  Rome,  all  of  whom 
have  devoted  themselves  with  special  zeal  to  the 
paintings  of  the  Venetian  masters.  The  author 
is  peculiarly  indebted  to  Signor  Anderson  for 
having  materially  assisted  his  studies  by  photo- 
graphing many  pictures  which  at  present  have 
a  scientific  rather  than  a  popular  interest. 


PREFACE 


xi 


The  frontispiece  is  a  reproduction  of  Gior- 
gione's  "  Shepherd  "  at  Hampton  Court,  a 
picture  which  perhaps  better  than  any  other 
expresses  the  Renaissance  at  the  most  fascina- 
ting point  of  its  course.  The  author  is  indebted 
to  Mr.  Sidney  Colvin  for  permission  to  make 
use  of  a  photograph  taken  at  his  order. 


CONTENTS. 


PAGE 

THE  VENETIAN  PAINTERS  OF  THE  RENAIS- 
SANCE  I 

I.    Value  of  Venetian  Art  i 
II.    The  Church  and  Painting  ....  2 

III.  The  Renaissance  5 

IV.  Painting  and  the  Renaissance  .       .  .12 
V.    Pageant  Pictures  17 

VI.    Fainting  and  the  Confraternities    .       .  22 
VII.    Easel  Pictures  and  Giorgione  '.       .  .26 
VIII.    The  Giorgionesque  Spirit  .       .      .  .31 

IX.    The  Portrait  32 

X.    The  Young  Titian  38 

XI.    Apparent  Failure  of  the  Renaissance     .  41 
XII.    Lotto  43 

XIII.  The  Late  Renaissance  and  Titian    .       .  44 

XIV.  Humanity  and  the  Renaissance        .       .  4S 
XV.    Sebastiano  del  Piombo       .       .      .  .49 

XVI.    Tintoretto  51 

xiii 


xiv  CONTENTS. 

PAGE 

XVII.    Value  of  Minor  Episodes  in  Art      .       .  56 
XVIII.    Tintoretto's  Portraits      .       .       .  .59 
XIX.    Venetian  Art  and  the  Provinces      .       .  60 

XX.    Paul  Veronese  62 

XXI.    Bassano,  Genre,  and  Landscape        .       .  64 
XXII.    The  Venetians  and  Velasquez   .       .  .70 

XXIII.  Decline  of  Venetian  Art    .       .       .  .71 

XXIV.  Longhi  72 

XXV.    Canaletto  and  Guardi       .       .      .  .74 

XXVI.    Tiepolo  75 

XXVII.  Influence  of  Venetian  Art  .  .  .77 
INDEX  TO  THE  WORKS  OF  THE  PRINCIPAL 

VENETIAN  PAINTERS  79 

INDEX  OF  PLACES  131 


THE  VENETIAN   PAINTERS  OF 
THE  RENAISSANCE 

I.  Value  of  Venetian  Art.— Among  the 
Italian  schools  of  painting  the  Venetian  has, 
for  the  majority  of  art-loving  people,  the 
strongest  and  most  enduring  attraction.  In  the 
course  of  the  present  brief  account  of  the  life 
of  that  school  we  shall  perhaps  discover  some 
of  the  causes  of  our  peculiar  delight  and  inter- 
est in  the  Venetian  painters,  as  we  come  to 
realise  what  tendencies  of  the  human  spirit  their 
art  embodied,  and  of  what  great  consequence 
their  example  has  been  to  the  whole  of  Euro- 
pean painting  for  the  last  three  centuries. 

The  Venetians  as  a  school  were  from  the  first 
endowed  with  exquisite  tact  in  their  use  of 
colour.  Seldom  cold  and  rarely  too  warm, 
their  colouring  never  seems  an  afterthought, 


2  THE  VENETIAN  PAINTERS 


as  in  many  of  the  Florentine  painters,  nor  is  it 
always  suggesting  paint,  as  in  some  of  the 
Veronese  masters.  When  the  eye  has  grown 
accustomed  to  make  allowance  for  the  darken- 
ing caused  by  time,  for  the  dirt  that  lies  in 
layers  on  so  many  pictures,  and  for  unsuccess- 
ful attempts  at  restoration,  the  better  Venetian 
paintings  present  such  harmony  of  intention 
and  execution  as  distinguishes  the  highest 
achievements  of  genuine  poets.  Their  mastery 
over  colour  is  the  first  thing  that  attracts  most 
people  to  the  painters  of  Venice.  Their  colour- 
ing not  only  gives  direct  pleasure  to  the  eye, 
but  acts  like  music  upon  the  moods,  stimulat- 
ing thought  and  memory  in  much  the  same 
way  as  a  work  by  a  great  composer. 

II.  The  Church  and  Painting.— The  Church 
from  the  first  took  account  of  the  influence 
of  colour  as  well  as  of  music  upon  the 
emotions.  From  the  earliest  times  it  em- 
ployed mosaic  and  painting  to  enforce  its 
dogmas  and  relate  its  legends,  not  merely 
because  this  was  the  only  means  of  reaching 
people  who  could  neither  read  nor  write,  but 


THE  CHURCH  AND  PAINTING 


3 


also  because  it  instructed  them  in  a  way  which, 
far  from  leading  to  critical  enquiry,  was  pecu- 
liarly capable  of  being  used  as  an  indirect 
stimulus  to  moods  of  devotion  and  contrition. 
Next  to  the  finest  mosaics  of  the  first  centuries, 
the  early  works  of  Giovanni  Bellini,  the  greatest 
Venetian  master  of  the  fifteenth  century,  best 
fulfil  this  religious  intention.  Painting  had  in 
his  life-time  reached  a  point  where  the  difficulties 
of  technique  no  longer  stood  in  the  way  of  the 
expression  of  profound  emotion.  No  one  can 
look  at  Bellini's  pictures  of  the  Dead  Christ 
upheld  by  the  Virgin  or  angels  without  being 
put  into  a  mood  of  deep  contrition,  nor  at  his 
earlier  Madonnas  without  a  thrill  of  awe  and 
reverence.  And  Giovanni  Bellini  does  not 
stand  alone.  His  contemporaries,  Gentile  Bel- 
lini, the  Vivarini,  Crivelli,  and  Cima  da  Cone- 
gliano  all  began  by  painting  in  the  same  spirit, 
and  produced  almost  the  same  effect. 

The  Church,  however,  thus  having  educated 
people  to  understand  painting  as  a  language 
and  to  look  to  it  for  the  expression  of  their 
sincerest  feelings,  could  not  hope  to  keep  it 
always  confined  to  the  channel  of  religious 


4 


THE   VENETIAN  PAINTERS 


emotion.  People  began  to  feel  the  need  of 
painting  as  something  that  entered  into  their 
every-day  lives  almost  as  much  as  we  nowadays 
feel  the  need  of  the  newspaper  ;  nor  was  this 
unnatural,  considering  that,  until  the  invention 
of  printing,  painting  was  the  only  way,  apart 
from  direct  speech,  of  conveying  ideas  to  the 
masses.  At  about  the  time  when  Bellini  and 
his  contemporaries  were  attaining  maturity,  the 
Renaissance  had  ceased  to  be  a  movement 
carried  on  by  scholars  and  poets  alone.  It  had 
become  sufficiently  widespread  to  seek  popular 
as  well  as  literary  utterance,  and  thus,  toward 
the  end  of  the  fifteenth  century,  it  naturally 
turned  to  painting,  a  vehicle  of  expression 
which  the  Church,  after  a  thousand  years  of 
use,  had  made  familiar  and  beloved. 

To  understand  the  Renaissance  at  the  time 
when  its  spirit  began  to  find  complete  embodi- 
ment in  painting,  a  brief  survey  of  the  move- 
ment of  thought  in  Italy  during  its  earlier 
period  is  necessary,  because  only  when  that 
movement  had  reached  a  certain  point  did 
painting  come  to  be  its  most  natural  medium 
of  expression. 


THE  RENAISSANCE 


5 


III.  The  Renaissance.  —  The  thousand 
years  that  elapsed  between  the  triumph  of 
Christianity  and  the  middle  of  the  fourteenth 
century  have  been  not  inaptly  compared  to 
the  first  fifteen  or  sixteen  years  in  the  life 
of  the  individual.  Whether  full  of  sorrows 
or  joys,  of  storms  or  peace,  these  early  years 
are  chiefly  characterised  by  tutelage  and  un- 
consciousness of  personality.  But  toward  the 
end  of  the  fourteenth  century  something  hap- 
pened in  Europe  that  happens  in  the  lives  of 
all  gifted  individuals.  There  was  an  awaken- 
ing to  the  sense  of  personality.  Although  it 
was  felt  to  a  greater  or  less  degree  everywhere, 
Italy  felt  the  awakening  earlier  than  the  rest 
of  Europe,  and  felt  it  far  more  strongly.  Its 
first  manifestation  was  a  boundless  and  insatia- 
ble curiosity,  urging  people  to  find  out  all  they 
could  about  the  world  and  about  man.  They 
turned  eagerly  to  the  study  of  classic  literature 
and  ancient  monuments,  because  these  gave 
the  key  to  what  seemed  an  immense  store- 
house of  forgotten  knowledge;  they  were  in 
fact  led  to  antiquity  by  the  same  impulse 
which,  a  little  later,  brought  about  the  in- 


6 


THE  VENETIAN  PAINTERS 


vention  of  the  printing-press  and  the  discovery 
of  America. 

The  first  consequence  of  a  return  to  classical 
literature  was  the  worship  of  human  greatness. 
Roman  literature,  which  the  Italians  naturally 
mastered  much  earlier  than  Greek,  dealt  chiefly 
with  politics  and  war,  seeming  to  give  an  alto- 
gether disproportionate  place  to  the  individual, 
because  it  treated  only  of  such  individuals  as 
were  concerned  in  great  events.  It  is  but  a 
step  from  realising  the  greatness  of  an  event  to 
believing  that  the  persons  concerned  in  it  were 
equally  great,  and  this  belief,  fostered  by  the 
somewhat  rhetorical  literature  of  Rome,  met 
the  new  consciousness  of  personality  more 
than  half  way,  and  led  to  that  unlimited  admi- 
ration for  human  genius  and  achievement 
which  was  so  prominent  a  feature  of  the  early 
Renaissance.  The  two  tendencies  reacted  upon 
each  other.  Roman  literature  stimulated  the 
admiration  for  genius,  and  this  admiration  in 
turn  reinforced  the  interest  in  that  period  of 
the  world's  history  when  genius  was  supposed 
to  be  the  rule  rather  than  the  exception  ;  that 
is  to  say,  it  reinforced  the  interest  in  antiquity. 


THE  RENAISSANCE 


7 


The  spirit  of  discovery,  the  never  satisfied 
curiosity  of  this  time,  led  to  the  study  of 
ancient  art  as  well  as  of  ancient  literature,  and 
the  love  of  antiquity  led  to  the  imitation  of  its 
buildings  and  statues  as  well  as  of  its  books 
and  poems.  Until  comparatively  recent  times 
scarcely  any  ancient  paintings  were  found, 
although  buildings  and  statues  were  every, 
where  to  be  seen,  the  moment  anyone  seriously 
thought  of  looking  at  them.  The  result  was 
that  while  the  architecture  and  sculpture  of 
the  Renaissance  were  directly  and  strongly 
influenced  by  antiquity,  painting  felt  its  influ- 
ence only  in  so  far  as  the  study  of  antiquity 
in  the  other  arts  had  conduced  to  better 
draughtsmanship  and  purer  taste.  The  spirit 
of  discovery  could  thus  show  itself  only  indi- 
rectly in  painting, — only  in  so  far  as  it  led 
painters  to  the  gradual  perfection  of  the  tech- 
nical means  of  their  craft 

Unlimited  admiration  for  genius  and  won- 
der that  the  personalities  of  antiquity  should 
have  survived  with  their  great  names  in  no 
way  diminished,  soon  had  two  consequences. 
One  was  love  of  glory,  and  the  other  the 


8  THE  VENETIAN  PAINTERS 


patronage  of  those  arts  which  were  supposed 
to  hand  down  a  glorious  name  undiminished 
to  posterity.  The  glory  of  old  Rome  had 
come  down  through  poets  and  historians, 
architects  and  sculptors,  and  the  Italians,  feel- 
ing that  the  same  means  might  be  used  to 
hand  down  the  achievements  of  their  own  time 
to  as  distant  a  posterity,  made  a  new  religion 
of  glory,  with  poets  and  artists  for  the  priests. 
At  first  the  new  priesthood  was  confined  almost 
entirely  to  writers,  but  in  little  more  than 
a  generation  architects  and  sculptors  began  to 
have  their  part.  The  passion  for  building  is  in 
itself  one  of  the  most  instinctive,  and  a  man's 
name  and  armorial  bearings,  tastefully  but 
prominently  displayed  upon  a  church  or  palace, 
were  as  likely,  it  was  felt,  to  hand  him  down 
to  posterity  as  the  praise  of  poets  or  historians. 
It  was  the  passion  for  glory,  in  reality,  rather 
than  any  love  of  beauty,  that  gave  the  first 
impulse  to  the  patronage  of  the  arts  in  the 
Renaissance.  Beauty  was  the  concern  of  the 
artists,  although  no  doubt  their  patrons  were 
well  aware  that  the  more  impressive  a  building 
was,  the  more  beautiful  a  monument,  the  more 


THE  RENAISSANCE 


9 


likely  was  it  to  be  admired,  and  the  more 
likely  were  their  names  to  reach  posterity. 
Their  instincts  did  not  mislead  them,  for  where 
their  real  achievements  would  have  tempted 
only  the  specialist  or  antiquarian  into  a  study 
of  their  career,  the  buildings  and  monuments 
put  up  by  them — by  such  princes  as  Sigis- 
mondo  Malatesta,  Frederick  of  Urbino,  or 
Alfonzo  of  Naples, — have  made  the  whole  in- 
telligent public  believe  that  they  were  really 
as  great  as  they  wished  posterity  to  believe 
them. 

As  painting  had  done  nothing  whatever  to 
transmit  the  glory  of  the  great  Romans,  the 
earlier  generations  of  the  Renaissance  expected 
nothing  from  it,  and  did  not  give  it  that 
patronage  which  the  Church,  for  its  own  pur- 
poses, continued  to  hold  out  to  it.  The 
Renaissance  began  to  make  especial  use  of 
painting  only  when  its  own  spirit  had  spread 
very  widely,  and  when  the  love  of  knowledge, 
of  power,  and  of  glory  had  ceased  to  be  the 
only  recognised  passions,  and  when,  following 
the  lead  of  the  Church,  people  began  to  turn 
to  painting  for  the  expression  of  deep  emotion. 


IO  THE  VENETIAN  PAINTERS 

The  new  religion,  as  I  have  called  the  love 
of  glory,  is  in  its  very  essence  a  thing  of  this 
world,  founded  as  it  is  on  human  esteem. 
The  boundless  curiosity  of  the  Renaissance 
led  back  inevitably  to  an  interest  in  life  and  to 
an  acceptance  of  things  for  what  they  were, — 
for  their  intrinsic  quality.  The  moment  people 
stopped  looking  fixedly  toward  heaven  their 
eyes  fell  upon  the  earth,  and  they  began  to 
see  much  on  its  surface  that  was  pleasant. 
Their  own  faces  and  figures  must  have  struck 
them  as  surprisingly  interesting,  and,  consider- 
ing how  little  St.  Bernard  and  other  mediaeval 
saints  and  doctors  had  led  them  to  expect, 
singularly  beautiful.  A  new  feeling  arose  that 
mere  living  was  a  big  part  of  life,  and  with 
it  came  a  new  passion,  the  passion  for  beauty, 
for  grace,  and  for  comeliness. 

It  has  already  been  suggested  that  the  Re- 
naissance was  a  period  in  the  history  of  modern 
Europe  comparable  to  youth  in  the  life  of  the 
individual.  It  had  all  youth's  love  of  finery 
and  of  play.  The  more  people  were  imbued 
with  the  new  spirit,  the  more  they  loved  pa- 
geants.  The  pageant  was  an  outlet  for  many  of 


THE  RENAISSANCE 


I  I 


the  dominant  passions  of  the  time,  for  there  a 
man  could  display  all  the  finery  he  pleased, 
satisfy  his  love  of  antiquity  by  masquerading  as 
Caesar  or  Hannibal,  his  love  of  knowledge  by 
finding  out  how  the  Romans  dressed  and  rode 
%  in  triumph,  his  love  of  glory  by  the  display  of 
wealth  and  skill  in  the  management  of  the  cere- 
mony, and,  above  all,  his  love  of  feeling  himself 
alive.  Solemn  writers  have  not  disdained  to 
describe  to  the  minutest  details  many  of  the 
pageants  which  they  witnessed. 

We  have  seen  that  the  earlier  elements  of 
the  Renaissance,  the  passion  for  knowledge  and 
glory,  were  not  of  the  kind  to  give  a  new  im- 
pulse to  painting.  Nor  was  the  passion  for 
antiquity  at  all  so  direct  an  inspiration  to  that 
art  as  it  was  to  architecture  and  sculpture.  The 
love  of  glory  had,  it  is  true,  led  such  as  could 
not  afford  to  put  up  monumental  buildings,  to 
decorate  chapels  with  frescoes  in  which  their 
portraits  were  timidly  introduced.  But  it  was 
only  when  the  Renaissance  had  attained  to  a 
full  consciousness  of  its  interest  in  life  and  en- 
joyment of  the  world  that  it  naturally  turned, 
and  indeed  was  forced  to  turn,  to  painting;  for 


12  THE  VENETIAN  PAINTERS 


it  is  obvious  that  painting  is  peculiarly  fitted 
for  rendering  the  appearances  of  things  with  a 
glow  of  light  and  richness  of  colour  that  cor- 
respond to  and  express  warm  human  emotions. 

IV.    Painting  and  the  Renaissance.  —  , 

When  it  once  reached  the  point  where  its 
view  of  the  world  naturally  sought  expression 
in  painting,  as  religious  ideas  had  done  before, 
the  Renaissance  found  in  Venice  clearer  utter- 
ance than  elsewhere,  and  it  is  perhaps  this  fact 
which  makes  the  most  abiding  interest  of 
Venetian  painting.  It  is  at  this  point  that  we 
shall  take  it  up. 

The  growing  delight  in  life  with  the  conse- 
quent love  of  health,  beauty,  and  joy  were  felt 
more  powerfully  in  Venice  than  anywhere  else 
in  Italy.  The  explanation  of  this  may  be  found 
in  the  character  of  the  Venetian  government 
which  was  such  that  it  gave  little  room  for  the 
satisfaction  of  the  passion  for  personal  glory, 
and  kept  its  citizens  so  busy  in  duties  of  state 
that  they  had  small  leisure  for  learning.  Some 
of  the  chief  passions  of  the  Renaissance  thus 
finding  no  outlet  in  Venice,  the  other  passions 


PAINTING  AND  THE  RENAISSANCE       1 3 

insisted  all  the  more  on  being  satisfied.  Venice, 
moreover,  was  the  only  state  in  Italy  which 
was  enjoying,  and  for  many  generations  had 
been  enjoying,  internal  peace.  This  gave  the 
Venetians  a  love  of  comfort,  of  ease,  and  of 
splendour,  a  refinement  of  manner,  and  humane- 
ness of  feeling,  which  made  them  the  first 
really  modern  people  in  Europe.  Since  there 
was  little  room  for  personal  glory  in  Venice, 
the  perpetuators  of  glory,  the  Humanists,  found 
at  first  scant  encouragement  there,  and  the 
Venetians  were  saved  from  that  absorption  in 
archaeology  and  pure  science  which  overwhelmed 
Florence  at  an  early  date.  This  was  not  neces- 
sarily an  advantage  in  itself,  but  it  happened 
to  suit  Venice,  where  the  conditions  of  life  had 
for  some  time  been  such  as  to  build  up  a  love 
of  beautiful  things.  As  it  was,  the  feeling  for 
beauty  was  not  hindered  in  its  natural  devel- 
opment. Archaeology  would  have  tried  to 
submit  it  to  the  good  taste  of  the  past,  a 
proceeding  which  rarely  promotes  good  taste 
in  the  present.  Too  much  archaeology  and  too 
much  science  might  have  ended  in  making 
Venetian  art  academic,  instead  of  letting  it  be- 


14  THE   VENETIAN  PAINTERS 

come  what  it  did,  the  product  of  a  natural 
ripening  of  interest  in  life  and  love  of  pleasure. 
In  Florence,  it  is  true,  painting  had  developed 
almost  simultaneously  with  the  other  arts,  and 
it  may  be  due  to  this  very  cause  that  the  Flor- 
entine painters  never  quite  realised  what  a 
different  task  from  the  architect's  and  sculp- 
tor's was  theirs.  At  the  time,  therefore,  when 
the  Renaissance  was  beginning  to  find  its  best 
expression  in  painting,  the  Florentines  were 
already  too  much  attached  to  classical  ideals  of 
form  and  composition,  in  other  words,  too  aca- 
demic, to  give  embodiment  to  the  throbbing 
feeling  for  life  and  pleasure. 

Thus  it  came  to  pass  that  in  the  Venetian  pic- 
tures of  the  end  of  the  fifteenth  century  we 
find  neither  the  contrition  nor  the  devotion  of 
those  earlier  years  when  the  Church  alone 
employed  painting  as  the  interpreter  of  emo- 
tion, nor  the  learning  which  characterised  the 
Florentines.  The  Venetian  masters  of  this 
time,  although  nominally  continuing  to  paint 
the  Madonna  and  saints,  were  in  reality  paint- 
ing handsome,  healthy,  sane  people  like  them- 
selves, people  who  wore  their  splendid  robes 


PAINTING  AND  THE  RENAISSANCE       I  5 

with  dignity,  who  found  life  worth  the  mere 
living  and  sought  no  metaphysical  basis  for  it. 
In  short,  the  Venetian  pictures  of  the  last 
decade  of  the  century  seemed  intended  not 
for  devotion,  as  they  had  been,  nor  for  admira- 
tion, as  they  then  were  in  Florence,  but  for 
enjoyment. 

The  Church  itself,  as  has  been  said,  had  edu- 
cated its  children  to  understand  painting  as  a 
language.  Now  that  the  passions  men  dared 
to  avow  were  no  longer  connected  with  happi- 
ness  in  some  future  state  only,  but  mainly  with 
life  in  the  present,  painting  was  expected  to 
give  voice  to  these  more  human  aspirations 
and  to  desert  the  outgrown  ideals  of  the 
Church.  In  Florence,  the  painters  seemed 
unable  or  unwilling  to  make  their  art  really 
popular.  Nor  was  it  so  necessary  there,  for 
Poliziano,  Pulci,  and  Lorenzo  dei  Medici  sup- 
plied the  need  of  self-expression  by  addressing 
the  Florentines  in  the  language  which  their 
early  enthusiasm  for  antiquity  and  their  natural 
gifts  had  made  them  understand  better  than 
any  other — the  language  of  poetry.  In  Venice 
alone  painting  remained  what  it  had  been  all 


1 6  THE  VENETIAN  PAINTERS 

over  Italy  in  earlier  times,  the  common  tongue 
of  the  whole  mass  of  the  people.  Venetian 
artists  thus  had  the  strongest  inducements  to 
perfect  the  processes  which  painters  must  em- 
ploy to  make  pictures  look  real  to  their  own 
generation  ;  and  their  generation  had  an  alto- 
gether firmer  hold  on  reality  than  any  that  had 
been  known  since  the  triumph  of  Christianity. 
Here  again  the  comparison  of  the  Renaissance 
to  youth  must  be  borne  in  mind.  The  grasp 
that  youth  has  on  reality  is  not  to  be  compared 
to  that  brought  by  age,  and  we  must  not  ex- 
pect to  find  in  the  Renaissance  a  passion  for 
an  acquaintance  with  things  as  they  are  such 
as  we  ourselves  have  ;  but  still  its  grasp  of  facts 
was  far  firmer  than  that  of  the  Middle  Ages. 

Painting,  in  accommodating  itself  to  the  new 
ideas,  found  that  it  could  not  attain  to  satisfac- 
tory representation  merely  by  form  and  colour, 
but  that  it  required  light  and  shadow  and 
effects  of  space.  Indeed,  venial  faults  of  draw- 
ing are  perhaps  the  least  disturbing,  while 
faults  of  perspective,  of  spacing,  and  of  colour 
completely  spoil  a  picture  for  people  who  have 
an  every-day  acquaintance  with  painting  such 


PAGEANT  PICTURES 


17 


as  the  Venetians  had.  We  find  the  Venetian 
painters,  therefore,  more  and  more  intent  upon 
giving  the  space  they  paint  its  real  depth,  upon 
giving  solid  objects  the  full  effect  of  the  round, 
upon  keeping  the  different  parts  of  a  figure 
within  the  same  plane,  and  upon  compelling 
things  to  hold  their  proper  places  one  behind 
the  other.  As  early  as  the  beginning  of  the 
sixteenth  century  a  few  of  the  greater  Venetian 
painters  had  succeeded  in  making  distant  ob- 
jects less  and  less  distinct,  as  well  as  smaller 
and  smaller,  and  had  succeeded  also  in  giving 
some  appearance  of  reality  to  the  atmosphere. 
These  are  a  few  of  the  special  problems  of 
painting,  as  distinct  from  sculpture  for  instance, 
and  they  are  problems  which,  among  the 
Italians,  only  the  Venetians  and  the  painters 
closely  connected  with  them  solved  with  any 
success. 

V.  Pageant  Pictures.— The  painters  of  the 

end  of  the  fifteenth  century  who  met  with  the 

greatest  success  in  solving  these  problems  were 

Giovanni  and  Gentile  Bellini,  Cima  da  Cone- 

gliano,  and  Carpaccio,  and  we  find  each  of 
2 


1 8  THE  VENETIAN  PAINTERS 

them  enjoyable  to  the  degree  that  he  was 
in  touch  with  the  life  of  his  day.  I  have 
already  spoken  of  pageants  and  of  how  char- 
acteristic they  were  of  the  Renaissance,  form- 
ing as  they  did  a  sort  of  safety-valve  for 
its  chief  passions.  Venice,  too,  knew  the  love 
of  glory,  and  the  passion  was  perhaps  only 
the  more  intense  because  it  was  all  dedi- 
cated to  the  State.  There  was  nothing  the 
Venetians  would  not  do  to  add  to  its  great- 
ness, glory,  and  splendour.  It  was  this  which 
led  them  to  make  of  the  city  itself  that  won- 
drous monument  to  the  love  and  awe  they  felt 
for  their  Republic,  which  still  rouses  more  ad- 
miration and  gives  more  pleasure  than  any 
other  one  achievement  of  the  art-impulse  in 
man.  They  were  not  content  to  make  their 
city  the  most  beautiful  in  the  world ;  they  per- 
formed ceremonies  in  its  honour  partaking  of 
all  the  solemnity  of  religious  rites.  Proces- 
sions and  pageants  by  land  and  by  sea,  free 
from  that  gross  element  of  improvisation  which 
characterised  them  elsewhere  in  Italy,  formed 
no  less  a  part  of  the  functions  of  the  Venetian 
State  than  the  High  Mass  in  the  Catholic 


PAGEANT  PICTURES 


19 


Church.  Such  a  function,  with  Doge  and 
Senators  arrayed  in  gorgeous  costumes  no  less 
prescribed  than  the  raiments  of  ecclesiastics, 
in  the  midst  of  the  fairy-like  architecture  of  the 
Piazza  or  canals,  was  the  event  most  eagerly 
looked  forward  to,  and  the  one  that  gave  most 
satisfaction  to  the  Venetian's  love  of  his  State, 
and  to  his  love  of  splendour,  beauty,  and  gaiety. 
He  would  have  had  them  every  day  if  it  were 
possible,  and,  to  make  up  for  their  rarity,  he 
loved  to  have  representations  of  them.  So 
most  Venetian  pictures  of  the  beginning  of  the 
sixteenth  century  tended  to  take  the  form  of 
magnificent  processions,  if  they  did  not  actually 
represent  them.  They  are  processions  in  the 
Piazza,  as  in  Gentile  Bellini's  "  Corpus  Christi  " 
picture,  or  on  the  water,  as  in  Carpaccio's  pict- 
ure where  St.  Ursula  leaves  her  home  ;  or  they 
represent  what  was  a  gorgeous  but  common 
sight  in  Venice,  the  reception  or  dismissal  of 
ambassadors,  as  in  several  pictures  of  Carpac- 
cio's St.  Ursula  series ;  or  they  show  simply  a 
collection  of  splendidly  costumed  people  in  the 
Piazza,  as  in  Gentile's  "  Preaching  of  St.  Mark." 
Not  only  the  pleasure-loving  Carpaccio,  but 


20  THE   VENETIAN  PAINTERS 

the  austere  Cima,  as  he  grew  older,  turned 
every  biblical  and  saintly  legend  into  an  occa- 
sion for  the  picture  of  a  pageant. 

But  there  was  a  further  reason  for  the  popu- 
larity of  such  pictures.  The  decorations  which 
were  then  being  executed  by  the  most  reputed 
masters  in  the  Hall  of  Great  Council  in  the 
Doge's  Palace,  were,  by  the  nature  of  the  sub- 
ject, required  to  represent  pageants.  The 
Venetian  State  encouraged  painting  as  did  the 
Church,  in  order  to  teach  its  subjects  its  own 
glory  in  a  way  that  they  could  understand 
without  being  led  on  to  critical  enquiry. 
Venice  was  not  the  only  city,  it  is  true,  that 
used  painting  for  political  purposes;  but  the 
frescoes  of  Lorenzetti  at  Siena  were  admoni- 
tions to  govern  in  accordance  with  the  Cate- 
chism, while  the  pictures  in  the  Great  Hall  of 
the  Doge's  Palace  were  of  a  nature  to  remind 
the  Venetians  of  their  glory  and  also  of  their 
state  policy.  These  mural  paintings  represented 
such  subjects  as  the  Doge  bringing  about  a 
reconciliation  between  the  Pope  and  the  Em- 
peror Barbarossa,  an  event  which  marked  the 
first  entry  of  Venice  into  the  field  of  Conti- 


PaGeant  pictures  2i 

ftental  politics,  and  typified  as  well  its  un- 
changing policy,  which  was  to  gain  its  own 
ends  by  keeping  a  balance  of  power  between 
the  allies  of  the  Pope  and  the  allies  of  his 
opponents.  The  first  edition,  so  to  speak,  of 
these  works  had  been  executed  at  the  end  of 
the  fourteenth  century  and  in  the  beginning 
of  the  fifteenth.  Toward  the  end  of  that  cen- 
tury it  no  longer  satisfied  the  new  feeling  for 
reality  and  beauty,  and  thus  had  ceased  to 
serve  its  purpose,  which  was  to  glorify  the 
State.  The  Bellini,  Alvise  Vivarini,  and  Car- 
paccio  were  employed  to  make  a  second  ren- 
dering of  the  very  same  subjects,  and  this 
gave  the  Venetians  ample  opportunity  for 
finding  out  how  much  they  liked  pageant 
pictures. 

It  is  curious  to  note  here  that  at  the  same 
time  Florence  also  commissioned  its  greatest 
painters  to  execute  works  for  its  Council  Hall, 
but  left  them  practically  free  to  choose  their  own 
subjects.  Michelangelo  chose  for  his  theme 
"The  Florentines  while  Bathing  Surprised  by 
the  Pisans,"  and  Leonardo  "  The  Battle  of  the 
Standard.''    Neither  of  these  was  intended  in 


22 


THE  VENETIAN  PAINTERS 


the  first  place  to  glorify  the  Florentine  Re- 
public, but  rather  to  give  scope  to  the  painter's 
genius,  Michelangelo's  for  the  treatment  of  the 
nude,  Leonardo's  for  movement  and  animation. 
Each,  having  given  scope  to  his  peculiar  talents 
in  his  cartoon,  had  no  further  interest,  and 
neither  of  the  undertakings  was  ever  completed. 
Nor  do  we  hear  that  the  Florentine  councillors 
enjoyed  the  cartoons,  which  were  instantly 
snatched  up  by  students  who  turned  the  hall 
containing  them  into  an  academy. 

VI.  Painting  and  the  Confraternities. — It 

does  not  appear  that  the  Hall  of  Great  Council 
in  Venice  was  turned  into  a  students'  academy, 
and,  although  the  paintings  there  doubtless  gave 
a  decided  incentive  to  artists,  their  effect  upon 
the  public,  for  whom  they  were  designed,  was 
even  greater.  The  councillors  were  not  al- 
lowed to  be  the  only  people  to  enjoy  fas- 
cinating pictures  of  gorgeous  pageants  and 
ceremonials.  The  Mutual  Aid  Societies — the 
Schools,  as  they  were  called — were  not  long  in 
getting  the  masters  who  were  employed  in  the 
Doge's  Palace  to  execute  for  their  own  meet- 


PAINTING  AND  THE  CONFRATERNITIES  2$ 

ing  places  pictures  equally  splendid.  The 
Schools  of  San  Giorgio,  Sant'  Ursula,  and  Santo 
Stefano,  employed  Carpaccio,  the  Schools  of 
San  Giovanni  and  San  Marco,  Gentile  Bellini, 
and  other  Schools  employed  minor  painters. 
The  works  carried  out  for  these  Schools  are  of 
peculiar  importance,  both  because  they  are  all 
that  remain  to  throw  light  upon  the  pictures  in 
the  Doge's  Palace  destroyed  in  the  fire  of  1576, 
and  because  they  form  a  transition  to  the  art 
of  a  later  day.  Just  as  the  State  chose  sub- 
jects that  glorified  itself  and  taught  its  own 
history  and  policy,  so  the  Schools  had  pictures 
painted  to  glorify  their  patron  saints,  and  to 
keep  their  deeds  and  example  fresh.  Many 
of  these  pictures — most  in  fact — took  the  form 
of  pageants ;  but  even  in  such,  intended  as 
they  were  for  almost  domestic  purposes,  the 
style  of  high  ceremonial  was  relaxed,  and 
elements  taken  directly  from  life  were  intro- 
duced. In  his  "  Corpus  Christi,"  Gentile  Bellini 
paints  not  only  the  solemn  and  dazzling  pro- 
cession in  the  Piazza,  but  the  elegant  young 
men  who  strut  about  in  all  their  finery,  the 
foreign  loungers,  and  even  the  unfailing  beggar 


24  THE  VENETIAN  PAINTERS 

by  the  portal  of  St.  Mark's.  In  his  "  Miracle 
of  the  True  Cross,"  he  introduces  gondoliers, 
taking  care  to  bring  out  all  the  beauty  of  their 
lithe,  comely  figures  as  they  stand  to  ply  the 
oar,  and  does  not  reject  even  such  an  episode 
as  a  serving-maid  standing  in  a  doorway  watch- 
ing a  negro  who  is  about  to  plunge  into  the 
canal.  He  treats  this  bit  of  the  picture  with 
all  the  charm  and  much  of  that  delicate  feeling 
for  simple  effects  of  light  and  colour  that  we 
find  in  such  Dutch  painters  as  Vermeer  van 
Delft  and  Peter  de  Hoogh. 

Episodes  such  as  this  in  the  works  of  the 
earliest  great  Venetian  master  must  have  acted 
on  the  public  like  a  spark  on  tinder.  They 
certainly  found  a  sudden  and  assured  popular- 
ity, for  they  play  a  more  and  more  important 
part  in  the  pictures  executed  for  the  Schools, 
many  of  the  subjects  of  which  were  readily 
turned  into  studies  of  ordinary  Venetian  life. 
This  was  particularly  true  of  the  works  of  Car- 
paccio.  Much  as  he  loved  pageants,  he  loved 
homelier  scenes  as  well.  His  "  Dream  of  St. 
Ursula "  shows  us  a  young  girl  asleep  in  a 
room  filled  with  the  quiet  morning  light.  In- 


PAINTING  AND  THE  CONFRATERNITIES  2$ 

deed,  it  may  be  better  described  as  the  picture 
of  a  room  with  the  light  playing  softly  upon 
its  walls,  upon  the  flower-pots  in  the  window, 
and  upon  the  writing-table  and  the  cupboards. 
A  young  girl  happens  to  be  asleep  in  the  bed, 
but  the  picture  is  far  from  being  a  merely  eco- 
nomic illustration  to  this  episode  in  the  life  of 
the  saint.  Again,  let  us  take  the  work  in  the 
same  series  where  King  Maure  dismisses  the 
ambassadors.  Carpaccio  has  made  this  a  scene 
of  a  chancellery  in  which  the  most  striking  fea- 
tures are  neither  the  king  nor  the  ambas- 
sadors, but  the  effect  of  the  light  that  streams 
through  a  side  door  on  the  left  and  a  poor 
clerk  labouring  at  his  task.  Or,  again,  take  St. 
Jerome  in  his  study,  in  the  Scuola  di  San 
Giorgio.  He  is  nothing  but  a  Venetian  scholar 
seated  in  his  comfortable,  bright  library,  in  the 
midst  of  his  books,  with  his  little  shelf  of  bric- 
a-brac  running  along  the  wall.  There  is  nothing 
in  his  look  or  surroundings  to  speak  of  a  life  of 
self-denial  or  of  arduous  devotion  to  the  prob- 
lems of  sin  and  redemption.  Even  the  "  Pre- 
sentation of  the  Virgin,"  which  offered  such  a 
splendid  chance  for  a  pageant,  Carpaccio,  in 


26  THE  VENETIAN  PAINTERS 


one  instance,  turned  into  the  picture  of  a  sim- 
ple girl  going  to  her  first  communion.  In  other 
words,  Carpaccio's  quality  is  the  quality  of  a 
painter  of  genre,  of  which  he  was  the  earliest 
Italian  master.  His  genre  differs  from  Dutch 
or  French  not  in  kind  but  in  degree.  Dutch 
genre  is  much  more  democratic,  and,  as  paint- 
ing, it  is  of  a  far  finer  quality,  but  it  deals  with 
its  subject,  as  Carpaccio  does,  for  the  sake  of 
its  own  pictorial  capacities  and  for  the  sake  of 
the  effects  of  colour  and  of  light  and  shade. 

VII.  Easel  Pictures  and  Giorgione.— At 

the  beginning  of  the  Renaissance  painting 
was  almost  wholly  confined  to  the  Church. 
From  the  Church  it  extended  to  the  Council 
Hall,  and  thence  to  the  Schools.  There  it 
rapidly  developed  into  an  art  which  had  no 
higher  aim  than  painting  the  sumptuous  life  of 
the  aristocracy.  When  it  had  reached  this 
point,  there  was  no  reason  whatever  why  it 
should  not  begin  to  grace  the  dwellings  of  all 
well-to-do  people. 

In  the  sixteenth  century  painting  was  not 
looked  upon  with  the  estranging  reverence  paid 


EASEL  PICTURES  AND  GIORGIONE 

to  it  now.  It  was  almost  as  cheap  as  printing 
has  become  since,  and  almost  as  much  employed. 
When  the  Venetians  had  attained  the  point  of 
culture  where  they  were  able  to  differentiate 
their  sensations  and  distinguish  pleasure  from 
edification,  they  found  that  painting  gave  them 
decided  pleasure.  Why  should  they  always 
have  to  go  to  the  Doge's  Palace  or  to  some 
School  to  enjoy  this  pleasure  ?  That  would 
have  been  no  less  a  hardship  than  for  us  never 
to  hear  music  outside  of  a  concert-room.  This 
is  no  merely  rhetorical  comparison,  for  in  the 
life  of  the  Venetian  of  the  sixteenth  century 
painting  took  much  the  same  place  that  music 
takes  in  ours.  He  no  longer  expected  it  to  tell 
him  stories  or  to  teach  him  the  Catechism. 
Printed  books,  which  were  beginning  to  grow 
common,  amply  satisfied  both  these  needs. 
He  had  as  a  rule  very  little  personal  religion, 
and  consequently  did  not  care  for  pictures  that 
moved  him  to  contrition  or  devotion.  He  pre- 
ferred to  have  some  pleasantly  coloured  thing 
that  would  put  him  into  a  mood  connected  with 
the  side  of  life  he  most  enjoyed — with  refined 
merrymaking,  with  country  parties,  or  with  the 


28  THE  VENETIAN  PAINTERS 


sweet  dreams  of  youth.  Venetian  painting 
alone  among  Italian  schools  was  ready  to  sat- 
isfy such  a  demand,  and  it  thus  became  the  first 
genuinely  modern  art :  for  the  most  vital  dif- 
ference that  can  be  indicated  between  the  arts 
in  antiquity  and  modern  times  is  this — that 
now  the  arts  tend  to  address  themselves  more 
and  more  to  the  actual  needs  of  men,  while 
in  olden  times  they  were  supposed  to  serve 
some  more  than  human  purpose. 

The  pictures  required  for  a  house  were  natu- 
rally of  a  different  kind  from  those  suited  to 
the  Council  Hall  or  the  School,  where  large 
paintings,  which  could  be  rilled  with  many 
figures,  were  in  place.  For  the  house  smaller 
pictures  were  necessary,  such  as  could  easily  be 
carried  about.  The  mere  dimensions,  there- 
fore, excluded  pageants,  but,  in  any  case,  the 
pageant  was  too  formal  a  subject  to  suit  all 
moods — too  much  like  a  brass  band  always 
playing  in  the  room.  The  easel  picture  had  to 
be  without  too  definite  a  subject,  and  could  no 
more  permit  being  translated  into  words  than  a 
sonata.  Some  of  Giovanni  Bellini's  late  works 
are  already  of  this  kind.    They  are  full  of  that 


EASEL  PICTURES  AND  GIORGIONE  29 

subtle,  refined  poetry  which  can  be  expressed 
in  form  and  colour  alone.  But  they  were  a 
little  too  austere  in  form,  a  little  too  sober  in 
colour,  for  the  gay,  care-free  youth  of  the  time. 
Carpaccio  does  not  seem  to  have  painted  many 
easel  pictures,  although  his  brilliancy,  his  de- 
lightful fancy,  his  love  of  colour,  and  his  gaiety 
of  humour  would  have  fitted  him  admirably 
for  this  kind  of  painting.  But  Giorgione,  the 
follower  of  both  these  masters,  starting  with 
the  qualities  of  both  as  his  inheritance,  com- 
bined the  refined  feeling  and  poetry  of  Bellini 
with  Carpaccio's  gaiety  and  love  of  beauty  and 
colour.  Stirred  with  the  enthusiasms  of  his 
own  generation  as  people  who  had  lived 
through  other  phases  of  feeling  could  not  be, 
Giorgione  painted  pictures  so  perfectly  in  touch 
with  the  ripened  spirit  of  the  Renaissance  that 
they  met  with  the  success  which  those  things 
only  find  that  at  the  same  moment  wake  us  to 
the  full  sense  of  a  need  and  satisfy  it. 

Giorgione's  life  was  short,  and  very  few  of 
his  works — not  a  score  in  all — have  escaped 
destruction.  But  these  suffice  to  give  us  a 
glimpse  into  that  brief  moment  when  the  Re- 


30  THE   VENETIAN  PAINTERS 

naissance  found  its  most  genuine  expression  in 
painting.  Its  over-boisterous  passions  had 
quieted  down  into  a  sincere  appreciation  of 
beauty  and  of  human  relations.  It  would  be 
really  hard  to  say  more  about  Giorgione  than 
this,  that  his  pictures  are  the  perfect  reflex  of 
the  Renaissance  at  its  height.  His  works,  as 
well  as  those  of  his  contemporaries  and  follow- 
ers, still  continue  to  be  appreciated  most  by 
people  whose  attitude  of  mind  and  spirit  has 
most  in  common  with  the  Renaissance,  or  by 
those  who  look  upon  Italian  art  not  merely  as 
art,  but  as  the  product  of  this  period.  For 
that  is  its  greatest  interest.  Other  schools 
have  accomplished  much  more  in  mere  paint- 
ing  than  the  Italian.  A  serious  student  of  art 
will  scarcely  think  of  putting  many  of  even  the 
highest  achievements  of  the  Italians,  considered 
purely  as  technique,  beside  the  works  of  the 
great  Dutchmen,  the  great  Spaniard,  or  even 
the  masters  of  to-day.  Our  real  interest  in 
Italian  painting  is  at  bottom  an  interest  in  that 
art  which  we  almost  instinctively  feel  to  have 
been  the  fittest  expression  found  by  a  period 
in  the  history  of  modern  Europe  which  has 


THE  GIORGIONESQ  UE  SPIRIT  3 1 

much  in  common  with  youth.  The  Renais- 
sance has  the  fascination  of  those  years  when 
we  seemed  so  full  of  promise  both  to  ourselves 
and  to  everybody  else. 

VIII.  The  Giorgionesque  Spirit.  —  Gior- 
gione  created  a  demand  which  other  painters 
were  forced  to  supply  at  the  risk  of  finding 
no  favour.  The  older  painters  accommodated 
themselves  as  best  they  could.  One  of  them 
indeed,  turning  toward  the  new  in  a  way 
that  is  full  of  singular  charm,  gave  his  later 
works  all  the  beauty  and  softness  of  the  first 
spring  days  in  Italy.  Upon  hearing  the  title 
of  one  of  Catena's  works  in  the  National  Gal- 
lery, "  A  Warrior  Adoring  the  Infant  Christ," 
who  could  imagine  what  a  treat  the  picture 
itself  had  in  store  for  him?  It  is  a  fragrant 
summer  landscape  enjoyed  by  a  fewquiet  people, 
one  of  whom,  in  armour,  with  the  glamour  of  the 
Orient  about  him,  kneels  at  the  Virgin's  feet, 
while  a  romantic  young  page  holds  his  horse's 
bridle.  I  mention  this  picture  in  particular  be- 
cause it  is  so  accessible,  and  so  good  an  instance 
of  the  Giorgionesque  way  of  treating  a  sub- 


32  THE   VENETIAN  PAINTERS 

ject ;  not  for  the  story,  nor  for  the  display  of 
skill,  nor  for  the  obvious  feeling,  but  for  the 
lovely  landscape,  for  the  effects  of  light  and 
colour,  and  for  the  sweetness  of  human  rela- 
tions. Giorgione's  altar-piece  at  Castelfranco 
is  treated  in  precisely  the  same  spirit,  but  with 
far  more  genius. 

The  young  painters  had  no  chance  at  all  un- 
less they  undertook  at  once  to  furnish  pictures 
in  Giorgione's  style.  But  before  we  can  ap- 
preciate all  that  the  younger  men  were  called 
upon  to  do,  we  must  turn  to  the  consideration 
of  that  most  wonderful  product  of  the  Renais- 
sance and  of  the  painter's  craft — the  Portrait. 

IX.  The  Portrait.— The  longing  for  the 
perpetuation  of  one's  fame,  which  has  already 
been  mentioned  several  times  as  one  of  the 
chief  passions  of  the  Renaissance,  brought  with 
it  the  more  universal  desire  to  hand  down  the 
memory  of  one's  face  and  figure.  The  surest 
way  to  accomplish  this  end  seemed  to  be  the 
one  which  had  proved  successful  in  the  case  of 
the  great  Romans,  whose  effigies  were  growing 
more  and  more  familiar  as  new  busts  and 


? 


THE  PORTRAIT 


33 


medals  were  dug  up.  The  earlier  generations 
of  the  Renaissance  relied  therefore  on  the 
sculptor  and  the  medallist  to  hand  down  their 
features  to  an  interested  posterity.  These 
artists  were  ready  for  their  task.  The  mere 
materials  gave  them  solidity,  an  effect  so  hard 
to  get  in  painting.  At  the  same  time,  nothing 
was  expected  from  them  except  that  they 
should  mould  the  material  into  the  desired 
shape.  No  setting  was  required  and  no  colour. 
Their  art  on  this  account  alone  would  natu- 
rally have  been  the  earliest  to  reach  fruition. 
But  over  and  above  this,  sculptors  and  medal- 
lists had  the  direct  inspiration  of  antique 
models,  and  through  the  study  of  these  they 
were  at  an  early  date  brought  in  contact  with 
the  tendencies  of  the  Renaissance.  The  passion 
then  prevailing  for  pronounced  types,  and  the 
spirit  of  analysis  this  produced,  forced  them 
to  such  patient  study  of  the  face  as  would 
enable  them  to  give  the  features  that  look 
of  belonging  to  one  consistent  whole  which 
we  call  character.  Thus,  at  a  time  when 
painters  had  not  yet  learned  to  distinguish 
between  one  face  and  another,  Donatello  was 

3 


34  THE  VENETIAN  PAINTERS 

carving  busts  which  remain  unrivalled  as  studies 
of  character,  and  Pisanello  was  casting  bronze 
and  silver  medals  which  are  among  the  greatest 
claims  to  renown  of  those  whose  effigies  they 
bear. 

Donatello's  bust  of  Niccolo  d'Uzzano  shows 
clearly,  nevertheless,  that  the  Renaissance 
could  not  long  remain  satisfied  with  the  sculp- 
tured portrait.  It  is  coloured  like  nature,  and 
succeeds  so  well  in  producing  for  an  instant 
the  effect  of  actual  life  as  to  seem  uncanny  the 
next  moment.  Donatello's  contemporaries 
must  have  had  the  same  impression,  for  busts 
of  this  kind  are  but  few.  Yet  these  few  prove 
that  the  element  of  colour  had  to  be  included 
before  the  satisfactory  portrait  was  found  :  in 
other  words,  that  painting  and  not  sculp- 
ture was  to  be  the  portrait-art  of  the  Renais- 
sance. 

The  most  creative  sculptor  of  the  earlier 
Renaissance  was  not  the  only  artist  who  felt 
the  need  of  colour  in  portraiture.  Vittore 
Pisano,  the  greatest  medallist  of  this  or  any 
age,  felt  it  quite  as  keenly,  and  being  a  painter 
as  well,  he  was  among  the  first  to  turn  this  art 


THE  PORTRAIT 


35 


to  portraiture.  In  his  day,  however,  painting 
was  still  too  undeveloped  an  art  for  the  portrait 
not  to  lose  in  character  what  it  gained  in  a 
more  lifelike  colouring,  and  the  two  of  Pisa- 
nello's  portraits  which  still  exist  are  profiles 
much  inferior  to  his  best  medals,  seeming 
indeed  to  be  enlargements  of  them  rather  than 
original  studies  from  life. 

It  was  only  in  the  next  generation,  when 
the  attention  of  painters  themselves  was 
powerfully  concentrated  upon  the  reproduc- 
tion of  strongly  pronounced  types  of  humanity, 
that  they  began  to  make  portraits  as  full  of 
life  and  energy  as  Donatello's  busts  of  the 
previous  period.  Even  then,  however,  the 
full  face  was  rarely  attempted,  and  it  was  only 
in  the  beginning  of  the  sixteenth  century  that 
full-face  portraits  began  to  be  common.  The 
earliest  striking  achievement  of  this  sort,  Man- 
tegna's  head  of  Cardinal  Scarampo  (now  in 
Berlin),  was  not  the  kind  to  find  favour  in 
Venice.  The  full-face  likeness  of  this  wolf 
in  sheep's  clothing  brought  out  the  workings 
of  the  self-seeking,  cynical  spirit  within  too 
clearly  not  to  have  revolted  the  Venetians, 


36  THE  VENETIAN  PAINTERS 

who  looked  upon  all  such  qualities  as  impious 
in  the  individual  because  they  were  the  strict 
monopoly  of  the  State.  In  the  portraits  of 
Doges  which  decorated  the  frieze  of  its  great 
Council  Hall,  Venice  wanted  the  effigies  of 
functionaries  entirely  devoted  to  the  State,  and 
not  of  great  personalities,  and  the  profile  lent 
itself  more  readily  to  the  omission  of  purely 
individual  traits. 

It  is  significant  that  Venice  was  the  first 
state  which  made  a  business  of  preserving  the 
portraits  of  its  chief  rulers.  Those  which 
Gentile  and  Giovanni  Bellini  executed  for  this 
end  must  have  had  no  less  influence  on  por- 
traiture than  their  mural  paintings  in  the  same 
Hall  had  on  other  branches  of  the  art.  But 
the  State  was  not  satisfied  with  leaving  records 
of  its  glory  in  the  Ducal  Palace  alone.  The 
Church  and  the  saints  were  impressed  for  the 
same  purpose — happily  for  us,  for  while  the 
portraits  in  the  Great  Hall  have  perished,  sev- 
eral altar-pieces  still  preserve  to  us  the  like- 
nesses of  some  of  the  Doges. 

Early  in  the  sixteenth  century,  when  people 
began  to  want  pictures  in  their  own  homes  as 


THE  PORTRAIT 


37 


well  as  in  their  public  halls,  personal  and  reli- 
gious motives  combined  to  dictate  the  choice 
of  subjects.  In  the  minds  of  many,  painting, 
although  a  very  familiar  art,  was  too  much 
connected  with  solemn  religious  rites  and  with 
state  ceremonies  to  be  used  at  once  for  ends  of 
personal  pleasure.  So  landscape  had  to  slide 
in  under  the  patronage  of  St.  Jerome  ;  while 
romantic  biblical  episodes,  like  the  "  Finding  of 
Moses,"  or  the  "Judgment  of  Solomon,"  gave 
an  excuse  for  genre,  and  the  portrait  crept  in  half 
hidden  under  the  mantle  of  a  patron  saint.  Its 
position  once  secure,  however,  the  portrait 
took  no  time  to  cast  off  all  tutelage,  and  to 
declare  itself  one  of  the  most  attractive  sub- 
jects possible.  Over  and  above  the  obvious 
satisfaction  afforded  by  a  likeness,  the  portrait 
had  to  give  pleasure  to  the  eye,  and  to  pro- 
duce those  agreeable  moods  which  were  ex- 
pected from  all  other  paintings  in  Giorgione's 
time.  Portraits  like  that  of  Scarampo  are 
scarcely  less  hard  to  live  with  than  such  a 
person  himself  must  have  been.  They  tyran- 
nize rather  than  soothe  and  please.  But  Gior- 
gione  and  his  immediate  followers  painted  men 


38  THE  VENETIAN  PAINTERS 


and  women  whose  very  look  leads  one  to  think 
of  sympathetic  friends,  people  whose  features 
are  pleasantly  rounded,  whose  raiment  seems 
soft  to  touch,  whose  surroundings  call  up  the 
memory  of  sweet  landscapes  and  refreshing 
breezes.  In  fact,  in  these  portraits  the  least 
apparent  object  was  the  likeness,  the  real  pur- 
pose being  to  please  the  eye  and  to  turn  the 
mind  toward  pleasant  themes.  This  no  doubt 
helps  to  account  for  the  great  popularity  of 
portraits  in  Venice  during  the  sixteenth  cen- 
tury. Their  number,  as  we  shall  see,  only 
grows  larger  as  the  century  advances. 

X.  The  Young  Titian.— Giorgione's  fol- 
lowers had  only  to  exploit  the  vein  their 
master  hit  upon  to  find  ample  remunera- 
tion. Each,  to  be  sure,  brought  a  distinct 
personality  into  play,  but  the  demand  for 
the  Giorgionesque  article,  if  I  may  be  allowed 
the  phrase,  was  too  strong  to  permit  of  much 
deviation.  It  no  longer  mattered  what  the 
picture  was  to  represent  or  where  it  was  going 
to  be  placed ;  the  treatment  had  to  be  always 
bright,  romantic,  and  joyous.   Many  artists  still 


THE  YOUNG  TITIAN 


39 


confined  themselves  to  painting  ecclesiastical 
subjects  chiefly,  but  even  among  these,  such 
painters  as  Lotto  and  Palma,  for  example,  are 
fully  as  Giorgionesque  as  Titian,  Bonifazio,  or 
Paris  Bordone. 

Titian,  in  spite  of  a  sturdier,  less  refined 
nature,  did  nothing  for  a  generation  after 
Giorgione's  death  but  work  on  his  lines.  A 
difference  in  quality  between  the  two  masters 
shows  itself  from  the  first,  but  the  spirit  that 
animated  each  is  identical.  The  pictures  Titian 
was  painting  ten  years  after  his  companion's 
death  have  not  only  many  of  the  qualities  of 
Giorgione's,  but  something  more,  as  if  done  by 
an  older  Giorgione,  with  better  possession  of 
himself,  and  with  a  larger  and  firmer  hold  on 
the  world.  At  the  same  time,  they  show  no 
diminution  of  spontaneous  joy  in  life,  and  even 
an  increased  sense  of  its  value  and  dignity. 
What  an  array  of  masterpieces  might  be 
brought  to  witness!  In  the  " Assumption," 
for  example,  the  Virgin  soars  heavenward,  not 
helpless  in  the  arms  of  angels,  but  borne  up  by 
the  fulness  of  life  within  her,  and  by  the  feel- 
ing that  the  universe  is  naturally  her  own,  and 


40  THE  VENETIAN  PAINTERS 


that  nothing  can  check  her  course.  The  angels 
seem  to  be  there  only  to  sing  the  victory  of  a 
human  being  over  his  environment.  They  are 
embodied  joys,  acting  on  our  nerves  like  the 
rapturous  outburst  of  the  orchestra  at  the  end 
of  "  Parsifal."  Or  look  at  the  "  Bacchanals  " 
in  Madrid,  or  at  the  "  Bacchus  and  Ariadne  " 
in  the  National  Gallery.  How  brimful  they 
are  of  exuberant  joy !  you  see  no  sign  of  a 
struggle  of  inner  and  outer  conditions,  but  life 
so  free,  so  strong,  so  glowing,  that  it  almost 
intoxicates.  They  are  truly  Dionysiac,  Bac- 
chanalian triumphs — the  triumph  of  life  over 
the  ghosts  that  love  the  gloom  and  chill  and 
hate  the  sun. 

The  portraits  Titian  painted  in  these  years 
show  no  less  feeling  of  freedom  from  sordid 
cares,  and  no  less  mastery  over  life.  Think  of 
"  The  Man  with  the  Glove  "  in  the  Louvre,  of 
the  "  Concert,"  and  "  Young  Englishman  "  in 
Florence,  and  of  the  Pesaro  family  in  their 
altar-piece  in  the  Frari  at  Venice — call  up  these 
portraits,  and  you  will  see  that  they  are  true 
children  of  the  Renaissance  whom  life  has 
taught  no  meannesses  and  no  fears. 


APPARENT  FAILURE 


41 


XI.   Apparent  Failure  of  the  Renaissance. 

—  But  even  while  such  pictures  were  being 
painted,  the  spirit  of  the  Italian  Renaissance 
was  proving  inadequate  to  life.  This  was  not 
the  fault  of  the  spirit,  which  was  the  spirit  of 
youth.  But  youth  cannot  last  more  than  a 
certain  length  of  time.  No  matter  how  it  is 
spent,  manhood  and  middle  age  will  come. 
Life  began  to  show  a  sterner  and  more  sober 
face  than  for  a  brief  moment  it  had  seemed  to 
wear.  Men  became  conscious  that  the  passions 
for  knowledge,  for  glory,  and  for  personal  ad- 
vancement were  not  at  the  bottom  of  all  the 
problems  that  life  presented.  Florence  and 
Rome  discovered  this  suddenly,  and  with  a 
shock.  In  the  presence  of  Michelangelo's  sculp- 
tures in  San  Lorenzo,  or  of  his  "Last  Judg- 
ment," we  still  hear  the  cry  of  anguish  that  w  ent 
up  as  the  inexorable  truth  dawned  upon  them. 
But  Venice,  although  humiliated  by  the  League 
of  Cambrai,  impoverished  by  the  Turk,  and  by 
the  change  in  the  routes  of  commerce,  was  not 
crushed,  as  was  the  rest  of  Italy,  under  the 
heels  of  Spanish  infantry,  nor  so  drained  of 
resource  as  not  to  have  some  wealth  still  flow- 


42  THE  VENETIAN  PAINTERS 

ing  into  her  coffers.  Life  grew  soberer  and 
sterner,  but  it  was  still  amply  worth  the  living, 
although  the  relish  of  a  little  stoicism  and  of 
earnest  thought  no  longer  seemed  out  of  place. 
The  spirit  of  the  Renaissance  had  found  its 
way  to  Venice  slowly  ;  it  was  even  more  slow 
to  depart. 

We  therefore  find  that  toward  the  middle  of 
the  sixteenth  century,  when  elsewhere  in  Italy 
painting  was  trying  to  adapt  itself  to  the  hy- 
pocrisy of  a  Church  whose  chief  reason  for 
surviving  as  an  institution  was  that  it  helped 
Spain  to  subject  the  world  to  tyranny,  and 
when  portraits  were  already  exhibiting  the  fas- 
cinating youths  of  an  earlier  generation  turned 
into  obsequious  and  elegant  courtiers, — in 
Venice  painting  kept  true  to  the  ripened  and 
more  reflective  spirit  which  succeeded  to  the 
most  glowing  decades  of  the  Renaissance.  This 
led  men  to  take  themselves  more  seriously,  to 
act  with  more  consideration  of  consequences, 
and  to  think  of  life  with  less  hope  and  exulta- 
tion. Quieter  joys  were  sought,  the  pleasures 
of  friendship  and  of  the  affections.  Life  not 
having  proved  the  endless  holiday  it  had  prom- 


LOTTO 


43 


ised  to  be,  earnest  people  began  to  question 
whether  under  the  gross  masque  of  the  official 
religion  there  was  not  something  to  console 
them  for  departed  youth  and  for  the  failure  of 
hopes.  Thus  religion  began  to  revive  in  Italy, 
this  time  not  ethnic  nor  political,  but  personal, 
— an  answer  to  the  real  needs  of  the  human 
soul. 

XII.  Lotto. — It  is  scarcely  to  be  wondered  at 
that  the  Venetian  artist  in  whom  we  first  find 
the  expression  of  the  new  feelings,  should  have 
been  one  who  by  wide  travel  had  been  brought 
in  contact  with  the  miseries  of  Italy  in  a  way  not 
possible  for  those  who  remained  sheltered  in 
Venice.  Lorenzo  Lotto,  when  he  is  most  him- 
self, does  not  paint  the  triumph  of  man  over 
his  environment,  but  in  his  altar-pieces,  and 
even  more  in  his  portraits,  he  shows  us  people 
in  want  of  the  consolations  of  religion,  of  sober 
thought,  of  friendship  and  affection.  They 
look  out  from  his  canvases  as  if  begging  for 
sympathy. 

But  real  expression  for  the  new  order  of 
things  was  not  to  be  found  by  one  like  Lotto, 


44  THE  VENETIAN  PAINTERS 

sensitive  of  feeling  and  born  in  the  heyday  of 
the  Renaissance,  to  whom  the  new  must  have 
come  as  a  disappointment.  It  had  to  come 
from  one  who  had  not  been  brought  in  personal 
contact  with  the  woes  of  the  rest  of  Italy,  from 
one  less  conscious  of  his  environment,  one  like 
Titian  who  was  readier  to  receive  the  patronage 
of  the  new  master  than  to  feel  an  oppression 
which  did  not  touch  him  personally ;  or  it  had 
to  come  from  one  like  Tintoretto,  born  to  the 
new  order  of  things  and  not  having  to  outlive  a 
disappointment  before  adapting  himself  to  it. 

XIII.  The  Late  Renaissance  and  Titian. 

— It  is  as  impossible  to  keep  untouched  by 
what  happens  to  your  neighbours  as  to  have  a 
bright  sky  over  your  own  house  when  it  is 
stormy  everywhere  else.  Spain  did  not  di- 
rectly dominate  Venice,  but  the  new  fashions 
of  life  and  thought  inaugurated  by  her  nearly 
universal  triumph  could  not  be  kept  out.  Her 
victims,  among  whom  the  Italian  scholars  must 
be  reckoned,  flocked  to  Venice  for  shelter,  per- 
secuted by  a  rule  that  cherished  the  Inquisi- 
tion.   Now  for  the  first  time  Venetian  painters 


THE  LATE  RENAISSANCE  AND  TITIAN  45 


were  brought  in  contact  with  men  of  letters. 
As  they  were  already,  fortunately  for  them, 
selves,  too  well  acquainted  with  the  business  of 
their  own  art  to  be  taken  in  tow  by  learning  or 
even  by  poetry,  the  relation  of  the  man  of  let- 
ters to  the  painter  became  on  the  whole  a  stim- 
ulating and  at  any  rate  a  profitable  one,  as  in 
the  instance  of  two  of  the  greatest,  where  it 
took  the  form  of  a  partnership  for  mutual  ad- 
vantage. It  is  not  to  our  purpose  to  speak  of 
Aretino's  gain,  but  Titian  would  scarcely  have 
acquired  such  fame  in  his  lifetime  if  that  founder 
of  modern  journalism,  Pietro  Aretino,  had  not 
been  at  his  side,  eager  to  trumpet  his  praises 
and  to  advise  him  whom  to  court. 

The  overwhelming  triumph  of  Spain  entailed 
still  another  consequence.  It  brought  home 
to  all  Italians,  even  to  the  Venetians,  the  sense 
of  the  individual's  helplessness  before  organ- 
ized power — a  sense  which,  as  we  have  seen, 
the  early  Renaissance,  with  its  belief  in  the 
omnipotence  of  the  individual,  totally  lacked. 
This  was  not  without  a  decided  influence 
on  art.  In  the  last  three  decades  of  his 
long  career,  Titian  did  not  paint  man  as  if 


46  THE   VENETIAN  PAINTERS 

he  were  as  free  from  care  and  as  fitted  to  his 
environment  as  a  lark  on  an  April  morning. 
Rather  did  he  represent  man  as  acting  on  his 
environment  and  suffering  from  its  reactions. 
He  made  the  faces  and  figures  show  clearly 
what  life  had  done  to  them.  The  great  "  Ecce 
Homo  "  and  the  "  Crowning  with  Thorns  "  are 
imbued  with  this  feeling  no  less  than  the  eques- 
trian portrait  of  Charles  the  Fifth.  In  the 
"  Ecce  Homo  "we  see  a  man  with  a  godlike 
personality,  humbled  by  the  imperial  majesty, 
broken  by  the  imperial  power,  and  utterly  un- 
able to  hold  out  against  them.  In  the  "  Crown- 
ing with  Thorns  "we  have  the  same  godlike 
being  almost  brutalised  by  pain  and  suffering. 
In  the  portrait  of  the  Emperor  we  behold  a 
man  whom  life  has  enfeebled,  and  who  has  to 
meet  a  foe  who  may  crush  him. 

Yet  Titian  became  neither  soured  nor  a  pes- 
simist. Many  of  his  late  portraits  are  even 
more  energetic  than  those  of  his  early  matu- 
rity. He  shows  himself  a  wise  man  of  the 
world.  "  Do  not  be  a  grovelling  sycophant," 
some  of  them  seem  to  say,  "  but  remember 
that  courtly  manners  and  tempered  elegance 


THE  LATE  RENAISSANCE  AND  TITIAN  47 

can  do  you  no  harm."  Titian,  then,  was  ever 
ready  to  change  with  the  times,  and  on  the 
whole  the  change  was  toward  a  firmer  grasp  of 
reality,  necessitating  yet  another  advance  in 
the  painter's  mastery  of  his  craft.  Titian's 
real  greatness  consists  in  the  fact  that  he  was 
as  able  to  produce  an  effect  of  greater  reality 
as  he  was  ready  to  appreciate  the  need  of  a 
firmer  hold  on  life.  In  painting,  as  I  have 
said,  a  greater  effect  of  reality  is  chiefly  a  mat- 
ter of  light  and  shadow,  to  be  obtained  only 
by  considering  the  canvas  as  an  enclosed 
space,  filled  with  light  and  air,  through  which 
the  objects  are  seen.  There  is  more  than  one 
way  of  getting  this  effect,  but  Titian  attains  it 
by  the  almost  total  suppression  of  outlines,  by 
the  harmonising  of  his  colours,  and  by  the 
largeness  and  vigour  of  his  brushwork.  In 
fact,  the  old  Titian  was,  in  his  way  of  painting, 
remarkably  like  some  of  the  best  French  mas- 
ters of  to-day.  This  makes  him  only  the  more 
attractive,  particularly  when  with  handling  of 
this  kind  he  combined  the  power  of  creating 
forms  of  beauty  such  as  he  has  given  us  in  the 
"  Wisdom  "  of  the  Venetian  Royal  Palace,  or 


48 


THE   VENETIAN  PAINTERS 


in  the  "  Shepherd  and  Nymph "  of  Vienna. 
The  difference  between  the  old  Titian,  author 
of  these  works,  and  the  young  Titian,  painter 
of  the  "  Assumption,"  and  of  the  "  Bacchus 
and  Ariadne,"  is  the  difference  between  the 
Shakspeare  of  the  "  Midsummer  -  Night's 
Dream  "  and  the  Shakspeare  of  the  "  Tem- 
pest." Titian  and  Shakspeare  begin  and  end 
so  much  in  the  same  way  by  no  mere  accident. 
They  were  both  products  of  the  Renaissance, 
they  underwent  similar  changes,  and  each  was 
the  highest  and  completest  expression  of  his 
own  age.  This  is  not  the  place  to  elaborate 
the  comparison,  but  I  have  dwelt  so  long  on 
Titian,  because,  historically  considered,  he  is 
the  only  painter  who  expressed  nearly  all  of 
the  Renaissance  that  could  find  expression  in 
painting.  It  is  this  which  makes  him  even 
more  interesting  than  Tintoretto,  an  artist  who 
in  many  ways  was  deeper,  finer,  and  even  more 
brilliant. 

XIV.  Humanity  and  the  Renaissance.— 

Tintoretto  grew  to  manhood  when  the  fruit 
of  the  Renaissance  was  ripe  on  every  bough. 


SEBASTIANO  DEL  PIOMBO  49 


The  Renaissance  had  resulted  in  the  emancipa- 
tion of  the  individual,  in  making  him  feel  that 
the  universe  had  no  other  purpose  than  his 
happiness.  This  brought  an  entirely  new  an- 
swer to  the  question,  "  Why  should  I  do  this 
or  that?"  It  used  to  be,  "  Because  self-insti- 
tuted authority  commands  you."  The  answer 
now  was,  "  Because  it  is  good  for  men."  In  this 
lies  our  greatest  debt  to  the  Renaissance,  that 
it  instituted  the  welfare  of  man  as  the  end  of 
all  action.  The  Renaissance  did  not  bring  this 
idea  to  practical  issue,  but  our  debt  to  it  is 
endless  on  account  of  the  results  the  idea  has 
produced  in  our  own  days.  This  alone  would 
have  made  the  Renaissance  a  period  of  peculiar 
interest,  even  if  it  had  had  no  art  whatever. 
But  when  ideas  are  fresh  and  strong,  they  are 
almost  sure  to  find  artistic  embodiment,  as 
indeed  this  whole  epoch  found  in  painting, 
and  this  particular  period  in  the  works  of 
Tintoretto. 

XV.  Sebastiano  del  Piombo. — The  eman- 
cipation of  the  individual  had  a  direct  effect 

on  the  painter  in  freeing  him  from  his  guild. 
4 


5<D  THE  VENETIAN  PAINTERS 

It  now  occurred  to  him  that  possibly  he 
might  become  more  proficient  and  have 
greater  success  if  he  deserted  the  influences  he 
was  under  by  the  accident  of  birth  and  resi- 
dence, and  placed  himself  in  the  school  that 
seemed  best  adapted  to  foster  his  talents.  This 
led  to  the  unfortunate  experiment  of  Eclecti- 
cism which  checked  the  purely  organic  develop- 
ment of  the  separate  schools.  It  brought 
about  their  fusion  into  an  art  which  no  longer 
appealed  to  the  Italian  people,  as  did  the  art 
which  sprang  naturally  from  the  soil,  but  to  the 
small  class  of  dilettanti  who  considered  a  knowl- 
edge of  art  as  one  of  the  birthrights  of  their 
social  position.  Venice,  however,  suffered  lit- 
tle from  Eclecticism,  perhaps  because  a  strong 
sense  of  individuality  was  late  in  getting  there, 
and  by  that  time  the  painters  were  already  well 
enough  educated  in  their  craft  to  know  that 
they  had  little  to  learn  elsewhere.  The  one 
Venetian  who  became  an  Eclectic,  remained 
in  spite  of  it  a  great  painter.  Sebastiano  del 
Piombo  fell  under  the  influence  of  Michelan- 
gelo, but  while  this  influence  was  pernicious  in 
most  cases,  the  hand  that  had  learned  to  paint 


TINTORETTO 


51 


under  Bellini,  Cima,  and  Giorgione,  never 
wholly  lost  its  command  of  colour  and  tone. 

XVI.  Tintoretto. — Tintoretto  stayed  at 
home,  but  he  felt  in  his  own  person  a 
craving  for  something  that  Titian  could 
not  teach  him.  The  Venice  he  was  born  in 
was  not  the  Venice  of  Titian's  early  youth, 
and  his  own  adolescence  fell  in  the  period  when 
Spain  was  rapidly  making  herself  mistress  of 
Italy.  The  haunting  sense  of  powers  almost 
irresistible  gave  a  terrible  fascination  to 
Michelangelo's  works,  which  are  swayed  by 
that  sense  as  by  a  demonic  presence.  Tinto- 
retto felt  this  fascination  because  he  was  in 
sympathy  with  the  spirit  which  took  form  in 
colossal  torsoes  and  limbs.  To  him  these  were 
not,  as  they  were  to  Michelangelo's  enrolled 
followers,  merely  new  patterns  after  which  to 
model  the  nude. 

But  beside  this  sense  of  overwhelming  power 
and  gigantic  force,  Tintoretto  had  to  an  even 
greater  degree  the  feeling  that  whatever  existed 
was  for  mankind  and  with  reference  to  man. 
In  his  youth  people  were  once  more  turning  to 


52  THE   VENETIAN  PAINTERS 

religion,  and  in  Venice  poetry  was  making 
its  way  more  than  it  had  previously  done,  not 
only  because  Venice  had  become  the  refuge  of 
men  of  letters,  but  also  because  of  the  diffusion 
of  printed  books.  Tintoretto  took  to  the  new 
feeling  for  religion  and  poetry  as  to  his  birth- 
right. Yet  whether  classic  fable  or  biblical 
episode  were  the  subject  of  his  art,  Tintoretto 
coloured  it  with  his  feeling  for  the  human  life 
at  the  heart  of  the  story.  His  sense  of  power 
did  not  express  itself  in  colossal  nudes  so  much 
as  in  the  immense  energy,  in  the  glowing 
health  of  the  figures  he  painted,  and  more  still 
in  his  effects  of  light,  which  he  rendered  as  if 
he  had  it  in  his  hands  to  brighten  or  darken 
the  heavens  at  will  and  subdue  them  to  his 
own  moods. 

He  could  not  have  accomplished  this,  we 
may  be  sure,  if  he  had  not  had  even  greater 
skill  than  Titian  in  the  treatment  of  light  and 
shadow  and  of  atmosphere.  It  was  this  which 
enabled  him  to  give  such  living  versions  of 
biblical  stories  and  saintly  legends.  For, 
granting  that  an  effect  of  reality  were  attain- 
able in  painting  without  an  adequate  treatment 


TINTORETTO 


53 


of  light  and  atmosphere,  even  then,  the  reality 
would  look  hideous,  as  it  does  in  many  modern 
painters  who  attempt  to  paint  people  of  to-day 
in  their  every-day  dress  and  among  their  usual 
surroundings.  It  is  not  "  Realism  "  which 
makes  such  pictures  hideous,  but  the  want  of 
that  toning  down  which  the  atmosphere  gives 
to  things  in  life,  and  of  that  harmonising  to 
which  the  light  subjects  all  colours. 

It  was  a  great  mastery  of  light  and  shadow 
which  enabled  Tintoretto  to  put  into  his  pic- 
tures all  the  poetry  there  was  in  his  soul  with-  • 
out  once  tempting  us  to  think  that  he  might 
have  found  better  expression  in  words.  The 
poetry  which  quickens  most  of  his  works  in  the 
Scuola  di  San  Rocco  is  almost  entirely  a  matter 
of  light  and  colour.  What  is  it  but  the  light 
that  changes  the  solitudes  in  which  the  Mag- 
dalen and  St.  Mary  of  Egypt  are  sitting,  into 
dreamlands  seen  by  poets  in  their  moments  of 
happiest  inspiration  ?  What  but  light  and 
colour,  the  gloom  and  chill  of  evening,  with 
the  white-stoled  figure  standing  resignedly  be- 
fore the  judge,  that  give  the  "  Christ  before 
Pilate"  its  sublime  magic?    What,  again,  but 


54  THE   VENETIAN  PAINTERS 

light,  colour,  and  the  star-procession  of  cherubs 
that  imbue  the  realism  of  the  "  Annunciation  " 
with  music  which  thrills  us  through  and 
through  ? 

Religion  and  poetry  did  not  exist  for  Tinto- 
retto because  the  love  and  cultivation  of  the 
Muses  was  a  duty  prescribed  by  the  Greeks 
and  Romans,  and  because  the  love  of  God  and 
the  saints  was  prescribed  by  the  Church ;  but 
rather,  as  was  the  case  with  the  best  people  of 
his  time,  because  both  poetry  and  religion  were 
useful  to  man.  They  helped  him  to  forget 
what  was  mean  and  sordid  in  life,  they  braced 
him  to  his  task,  and  consoled  him  for  his  dis- 
appointments. Religion  answered  to  an  ever- 
living  need  of  the  human  heart.  The  Bible 
was  no  longer  a  mere  document  wherewith  to 
justify  Christian  dogma.  It  was  rather  a  series 
of  parables  and  symbols  pointing  at  all  times 
to  the  path  that  led  to  a  finer  and  nobler  life. 
Why  then  continue  to  picture  Christ  and  the 
Apostles,  the  Patriarchs  and  Prophets,  as  per- 
sons living  under  Roman  rule,  wearing  the 
Roman  toga,  and  walking  about  in  the  land- 
scape of  a  Roman  bas-relief?    Christ  and  the 


TINTORETTO 


55 


Apostles,  the  Patriarchs  and  Prophets,  were 
the  embodiment  of  living  principles  and  of 
living  ideals.  Tintoretto  felt  this  so  vividly 
that  he  could  not  think  of  them  otherwise  than 
as  people  of  his  own  kind,  living  under  condi- 
tions easily  intelligible  to  himself  and  to  his 
fellow-men.  Indeed,  the  more  intelligible  and 
the  more  familiar  the  look  and  garb  and  sur- 
roundings of  biblical  and  saintly  personages, 
the  more  would  they  drive  home  the  principles 
and  ideas  they  incarnated.  So  Tintoretto  did 
not  hesitate  to  turn  every  biblical  episode  into 
a  picture  of  what  the  scene  would  look  like  had 
it  taken  place  under  his  own  eyes,  nor  to  tinge 
it  with  his  own  mood. 

His  conception  of  the  human  form  was,  it  is 
true,  colossal,  although  the  slender  elegance  that 
was  then  coming  into  fashion,  as  if  in  protest 
against  physical  force  and  organisation,  influ- 
enced him  considerably  in  his  construction  of 
the  female  figure  ;  but  the  effect  which  he 
must  always  have  produced  upon  his  contem- 
poraries, and  which  most  of  his  works  still  pro- 
duce, is  one  of  astounding  reality  as  well  as  of 
wide  sweep  and  power.    Thus,  in  the  "  Discov- 


56  THE  VENETIAN  PAINTERS 

ery  of  the  Body  of  St.  Mark,"  in  the  Brera, 
and  in  the  "  Storm  Rising  while  the  Corpse  is 
being  Carried  through  the  Streets  of  Alexan- 
dria," in  the  Royal  Palace  at  Venice,  the  fig- 
ures, although  colossal,  are  so  energetic  and  so 
easy  in  movement,  and  the  effects  of  perspec- 
tive and  of  light  and  atmosphere  are  so  on  a 
level  with  the  gigantic  figures,  that  the  eye  at 
once  adapts  itself  to  the  scale,  and  you  feel  as 
if  you  too  partook  of  the  strength  and  health 
of  heroes. 

XVII.  Value  of  Minor  Episodes  in  Art— 

That  feeling  for  reality  which  made  the 
great  painters  look  upon  a  picture  as  the  repre- 
sentation of  a  cubic  content  of  atmosphere 
enveloping  all  the  objects  depicted,  made  them 
also  consider  the  fact  that  the  given  quantity 
of  atmosphere  is  sure  to  contain  other  objects 
than  those  the  artist  wants  for  his  purpose. 
He  is  free  to  leave  them  out,  of  course,  but  in 
so  far  as  he  does,  so  far  is  he  from  producing 
an  effect  of  reality.  The  eye  does  not  see 
everything,  but  all  the  eye  would  naturally  see 
along  with   the   principal   objects,  must  be 


VALUE  OF  MINOR  EPISODES  IN  ART 

painted,  or  the  picture  will  not  look  true  to 
life.  This  incorporation  of  small  episodes  run- 
ning parallel  with  the  subject  rather  than  form- 
ing part  of  it,  is  one  of  the  chief  characteristics 
of  modern  as  distinguished  from  ancient  art. 
It  is  this  which  makes  the  Elizabethan  drama 
so  different  from  the  Greek.  It  is  this  again 
which  already  separates  the  works  of  Duccio 
and  Giotto  from  the  plastic  arts  of  Antiquity. 
Painting  lends  itself  willingly  to  the  considera- 
tion of  minor  episodes,  and  for  that  reason  is 
almost  as  well  fitted  to  be  in  touch  with  mod* 
ern  life  as  the  novel  itself.  Such  a  treatment 
saves  a  picture  from  looking  prepared  and  cold, 
just  as  light  and  atmosphere  save  it  from  rigid- 
ity and  crudeness. 

No  better  illustration  of  this  can  be  found 
among  Italian  masters  than  Tintoretto's  "  Cru- 
cifixion "  in  the  Scuola  di  San  Rocco.  The 
scene  is  a  vast  one,  and  although  Christ  is  on 
the  Cross,  life  does  not  stop.  To  most  of  the 
people  gathered  there,  what  takes  place  is  no 
more  than  a  common  execution.  Many  of  them 
are  attending  to  it  as  to  a  tedious  duty.  Others 
work  away  at  some  menial  task  more  or  less 


58 


THE  VENETIAN  PAINTERS 


connected  with  the  Crucifixion,  as  unconcerned 
as  cobblers  humming  over  their  last.  Most  of 
the  people  in  the  huge  canvas  are  represented, 
as  no  doubt  they  were  in  life,  without  much  per- 
sonal feeling  about  Christ.  His  own  friends  are 
painted  with  all  their  grief  and  despair,  but  the 
others  are  allowed  to  feel  as  they  please.  The 
painter  does  not  try  to  give  them  the  proper 
emotions.  If  one  of  the  great  novelists  of  to- 
day, if  Tolstoi,  for  instance,  were  to  describe  the 
Crucifixion,  his  account  would  read  as  if  it  were 
a  description  of  Tintoretto's  picture.  But  Tin- 
toretto's fairness  went  even  further  than  letting 
all  the  spectators  feel  as  they  pleased  about 
what  he  himself  believed  to  be  the  greatest 
event  that  ever  took  place.  Among  this  multi- 
tude he  allowed  the  light  of  heaven  to  shine 
upon  the  wicked  as  well  as  upon  the  good,  and 
the  air  to  refresh  them  all  equally.  In  other 
words,  this  enormous  canvas  is  a  great  sea  of 
air  and  light  at  the  bottom  of  which  the  scene 
takes  place.  Without  the  atmosphere  and  the 
just  distribution  of  light,  it  would  look  as  life- 
less and  desolate,  in  spite  of  the  crowd  and  ani- 
mation, as  if  it  were  the  bottom  of  a  dried  up  sea. 


TINTORETTO'S  PORTRAITS  $Q 

XVIII.  Tintoretto's  Portraits— While 
all  these  advances  were  being  made,  the 
art  of  portraiture  had  not  stood  still.  Its 
popularity  had  only  increased  as  the  years 
went  on.  Titian  was  too  busy  with  commis- 
sions for  foreign  princes  to  supply  the  great 
demand  there  was  in  Venice  alone.  Tintoretto 
painted  portraits  not  only  with  much  of  the 
air  of  good  breeding  of  Titian's  likenesses,  but 
with  even  greater  splendour,  and  with  an 
astonishing  rapidity  of  execution.  The  Vene- 
tian portrait,  it  will  be  remembered,  was  ex- 
pected to  be  more  than  a  likeness.  It  was 
expected  to  give  pleasure  to  the  eye,  and  to 
stimulate  the  emotions.  Tintoretto  was  ready 
to  give  ample  satisfaction  to  all  such  expecta- 
tions. His  portraits,  although  they  are  not  so 
individualised  as  Lotto's,  nor  such  close  studies 
of  character  as  Titian's,  always  render  the  man 
at  his  best,  in  glowing  health,  full  of  life  and 
determination.  They  give  us  the  sensuous 
pleasure  we  get  from  jewels,  and  at  the  same 
time  they  make  us  look  back  with  amazement 
to  a  State  where  the  human  plant  was  in 
such  vigour  as  to  produce  old  men  of  the 


6o  THE  VENETIAN  PAINTERS 

kind  represented  in  most  of  Tintoretto's  por- 
traits. 

With  Tintoretto  ends  the  universal  interest 
the  Venetian  school  arouses ;  for  although 
painting  does  not  deteriorate  in  a  day  any  more 
than  it  grows  to  maturity  in  the  same  brief 
moment,  the  story  of  the  decay  has  none  of 
the  fascination  of  the  growth.  But  several 
artists  remain  to  be  considered  who  were  not 
of  the  Venetian  school  in  the  strict  sense  of 
the  term,  but  who  have  always  been  included 
within  it. 

XIX.  Venetian  Art  and  the  Provinces.— 

The  Venetian  provinces  were  held  together 
not  merely  by  force  of  rule.  In  language  and 
feeling  no  less  than  in  government,  they  formed 
a  distinct  unit  within  the  Italian  peninsula. 
Painting  being  so  truly  a  product  of  the  soil 
as  it  was  in  Italy  during  the  Renaissance,  the 
art  of  the  provinces  could  not  help  holding  the 
same  close  relation  to  the  art  of  Venice  that 
their  language  and  modes  of  feeling  held.  But 
a  difference  must  be  made  at  once  between 
towns  like  Verona,  with  a  school  of  at  least  as 


VENETIAN  ART  AND  THE  PROVINCES  6l 

long  a  growth  and  with  as  independent  an  evo- 
lution as  the  school  of  Venice  itself,  and  towns 
like  Vicenza  and  Brescia  whose  chief  painters 
never  developed  quite  independently  of  Venice 
or  Verona.  What  makes  Romanino  and 
Moretto  of  Brescia,  or  even  the  powerful  Mon- 
tagna  of  Vicenza,  except  when  they  are  at 
their  very  best,  so  much  less  enjoyable  as  a  rule 
than  the  Venetians — that  is  to  say  the  paint- 
ers wholly  educated  in  Venice, — is  something 
they  have  in  common  with  the  Eclectics  of 
a  later  day.  They  are  ill  at  ease  about  their  art, 
which  is  no  longer  the  utterly  unpremeditated 
outcome  of  a  natural  impulse.  They  saw  greater 
painting  than  their  own  in  Venice  and  Verona, 
and  not  unfrequently  their  own  works  show  an 
uncouth  attempt  to  adopt  that  greatness,  which 
comes  out  in  exaggeration  of  colour  even  more 
than  of  form,  and  speaks  for  that  want  of  taste 
which  is  the  indelible  stamp  of  provincial- 
ism. But  there  were  Venetian  towns  without 
the  traditions  even  of  the  schools  of  Vicenza 
and  Brescia,  where,  if  you  wanted  to  learn 
painting,  you  had  to  apprentice  yourself  to 
somebody  who  had  been  taught  by  somebody 


62  THE  VENETIAN  PAINTERS 


who  had  been  a  pupil  of  one  of  Giovanni 
Bellini's  pupils.  This  was  particularly  true  of 
the  towns  in  that  long  stretch  of  plain  between 
the  Julian  Alps  and  the  sea,  known  as  Friuli. 
Friuli  produced  one  painter  of  remarkable 
talents  and  great  force,  Giovanni  Antonio 
Pordenone,  but  neither  his  talents  nor  his  force, 
nor  even  later  study  in  Venice,  could  erase 
from  his  works  that  stamp  of  provincialism 
which  he  inherited  from  his  first  provincial 
master. 

Such  artists  as  these,  however,  never  gained 
great  favour  in  the  capital.  Those  whom 
Venice  drew  to  herself  when  her  own  strength 
was  waning  and  when,  like  Rome  in  her  decline, 
she  began  to  absorb  into  herself  the  talent  of 
the  provinces,  were  rather  painters  such  as 
Paolo  Veronese  whose  art,  although  of  indepen- 
dent growth,  was  sufficiently  like  her  own  to 
be  readily  understood,  or  painters  with  an 
entirely  new  vein,  such  as  the  Bassani. 

XX.  Paul  Veronese. — Paolo  was  the 
product  of  four  or  five  generations  of 
Veronese  painters,   the    first  two   or  three 


PAUL  VERONESE 


63 


of  which  had  spoken  the  language  of  the 
whole  mass  of  the  people  in  a  way  that  few 
other  artists  had  ever  done.  Consequently, 
in  the  early  Renaissance,  there  were  no  painters 
in  the  North  of  Italy,  and  few  even  in  Florence, 
who  were  not  touched  by  the  influence  of 
the  Veronese.  But  Paolo's  own  immediate 
predecessors  were  no  longer  able  to  speak  the 
language  of  the  whole  mass  of  the  people. 
There  was  one  class  they  left  out  entirely,  the 
class  to  whom  Titian  and  Tintoretto  appealed 
so  strongly,  the  class  that  ruled,  and  that 
thought  in  the  new  way.  Verona,  being  a 
dependency  of  Venice,  did  no  ruling,  and  cer- 
tainly not  at  all  so  much  thinking  as  Venice, 
and  life  there  continued  healthful,  simple, 
unconscious,  untroubled  by  the  approaching 
storm  in  the  world's  feelings.  But  although 
thought  and  feeling  may  be  slow  in  invading  a 
town,  fashion  comes  there  quickly.  Spanish 
fashions  in  dress,  and  Spanish  ceremonial  in 
manners  reached  Verona  soon  enough,  and  in 
Paolo  Caliari  we  find  all  these  fashions  reflected, 
but  health,  simplicity,  and  unconsciousness  as 
well.    This  combination  of  seemingly  opposite 


64  THE  VENETIAN  PAINTERS 

qualities  forms  his  great  charm  for  us  to-day, 
and  it  must  have  proved  as  great  an  attraction 
to  many  of  the  Venetians  of  his  own  time,  for 
they  were  already  far  enough  removed  from 
simplicity  to  appreciate  to  the  full  his  singularly 
happy  combination  of  ceremony  and  splendour 
with  an  almost  childlike  naturalness  of  feeling. 
Perhaps  among  his  strongest  admirers  were 
the  very  men  who  most  appreciated  Titian's 
distinction  and  Tintoretto's  poetry.  But  it  is 
curious  to  note  that  Paolo's  chief  employers 
were  the  monasteries.  His  cheerfulness,  and 
his  frank  and  joyous  worldliness,  the  qualities, 
in  short,  which  we  find  in  his  huge  pictures  of 
feasts,  seem  to  have  been  particularly  welcome 
to  those  who  were  expected  to  make  their 
meat  and  drink  of  the  very  opposite  qualities. 
This  is  no  small  comment  on  the  times,  and 
shows  how  thorough  had  been  the  permeation 
of  the  spirit  of  the  Renaissance  when  even 
the  religious  orders  gave  up  their  pretence  to 
asceticism  and  piety. 

XXI.  Bassano,  Genre,  and  Landscape- 
Venetian  painting  would  not  have  been  the 


BASS  A  NO,  GENRE,  AND  LANDSCAPE  65 


complete  expression  of  the  riper  Renaissance 
if  it  had  entirely  neglected  the  country.  City 
people  have  a  natural  love  of  the  country,  but 
when  it  was  a  matter  of  doubt  whether  a  man 
would  ever  return  if  he  ventured  out  of  the 
town-gates,  as  was  the  case  in  the  Middle  Ages, 
this  love  had  no  chance  of  showing  itself.  It 
had  to  wait  until  the  country  itself  was  safe 
for  wayfarers,  a  state  of  things  which  came 
about  in  Italy  with  the  gradual  submission  of 
the  country  to  the  rule  of  the  neighbouring 
cities  and  with  the  general  advance  of  civilisa- 
tion. During  the  Renaissance  the  love  of  the 
country  and  its  pleasures  received  an  immense 
impulse  from  Latin  authors.  What  the  great 
Romans  without  exception  recommended,  an 
Italian  was  not  slow  to  adopt,  particularly  when, 
as  in  this  case,  it  harmonised  with  natural  in- 
clination and  with  an  already  common  prac- 
tice. It  was  the  usual  thing  with  those  who 
could  afford  to  do  so  to  retire  to  the  villa  for  a 
large  part  of  the  year.  Classic  poets  helped 
such  Italians  to  appreciate  the  simplicity  of 
the  country  and  to  feel  a  little  of  its  beauty. 

Many  took  such  delight  in  country  life  that 
5 


66  THE  VENETIAN  PAINTERS 


they  wished  to  have  reminders  of  it  in  town. 
It  may  have  been  in  response  to  some  such 
half  formulated  wish  that  Palma  began  to 
paint  his  "  Sante  Conversazioni," — groups  of 
saintly  personages  gathered  under  pleasant 
trees  in  pretty  landscapes.  His  pupil,  Boni- 
fazio,  continued  the  same  line,  gradually,  how- 
ever, discarding  the  traditional  group  of 
Madonna  and  saints,  and,  under  such  titles  as 
"  The  Rich  Man's  Feast "  or  "  The  Finding  of 
Moses,"  painting  all  the  scenes  of  fashionable 
country  life,  music  on  the  terrace  of  a  villa, 
hunting  parties,  and  picnics  in  the  forest. 

Bonifazio's  pupil,  Jacopo  Bassano,  no  less 
fond  of  painting  country  scenes,  did  not  how- 
ever confine  himself  to  representing  city  people 
in  their  parks.  His  pictures  were  for  the  in- 
habitants of  the  small  market-town  from  which 
he  takes  his  name,  where  inside  the  gates 
you  still  see  men  and  women  in  rustic  garb 
crouching  over  their  many-coloured  wares  ;  and 
where,  just  outside  the  walls,  you  may  see  all 
the  ordinary  occupations  connected  with  farm- 
ing and  grazing.  Inspired,  although  unawares, 
by  the  new  idea  of  giving  perfectly  modern 


BASSANO,  GENRE,  AND  LANDSCAPE  67 


versions  of  biblical  stories,  Bassano  intro- 
duced into  nearly  every  picture  he  painted 
episodes  from  the  life  in  the  streets  of  Bassano, 
and  in  the  county  just  outside  the  gates.  Even 
Orpheus  in  his  hands  becomes  a  farmer's  lad 
fiddling  to  the  barnyard  fowls. 

Bassano's  pictures  and  those  of  his  two  sons, 
who  followed  him  very  closely,  found  great 
favour  in  Venice  and  elsewhere,  because  they 
were  such  unconscious  renderings  of  simple 
country  life,  a  kind  of  life  whose  charm  seemed 
greater  and  greater  the  more  fashionable  and 
ceremonious  private  life  in  the  city  became. 
But  this  was  far  from  being  their  only  charm. 
Just  as  the  Church  had  educated  people  to 
understand  painting  as  a  language,  so  the  love 
of  all  the  pleasant  things  that  painting  sug- 
gested led  in  time  to  the  love  of  this  art  as  its 
own  end,  serving  no  obvious  purpose  either  of 
decoration  or  suggestion,  but  giving  pleasure 
by  the  skilful  management  of  light  and  shadow, 
and  by  the  intrinsic  beauty  of  the  colours. 
The  third  quarter  of  the  sixteenth  century  thus 
saw  the  rise  of  the  picture-fancier,  and  the  suc- 
cess of  the  Bassani  was  so  great  because  they 


68  THE   VENETIAN  PAINTERS 


appealed  to  this  class  in  a  special  way.  In 
Venice  there  had  long  been  a  love  of  objects 
for  their  sensuous  beauty.  At  an  early  date  the 
Venetians  had  perfected  an  art  in  which  there 
is  scarcely  any  intellectual  content  whatever, 
and  in  which  colour,  jewel-like  or  opaline,  is 
almost  everything.  Venetian  glass  was  at  the 
same  time  an  outcome  of  the  Venetians'  love 
of  sensuous  beauty  and  a  continual  stimulant 
to  it.  Pope  Paul  II.,  for  example,  who  was  a 
Venetian,  took  such  a  delight  in  the  colour  and 
glow  of  jewels,  that  he  was  always  looking  at 
them  and  always  handling  them.  When  paint- 
ing, accordingly,  had  reached  the  point  where 
it  was  no  longer  dependent  upon  the  Church, 
nor  even  expected  to  be  decorative,  but  when 
it  was  used  purely  for  pleasure,  the  day  could 
not  be  far  distant  when  people  would  expect 
painting  to  give  them  the  same  enjoyment  they 
received  from  jewels  and  glass.  In  Bassano's 
works  this  taste  found  full  satisfaction.  Most 
of  his  pictures  seem  at  first  as  dazzling,  then 
as  cooling  and  soothing,  as  the  best  kind  of 
stained  glass  ;  while  the  colouring  of  details, 
particularly  of  those  under  high  lights,  is  jewel- 


BASSANO,  GENRE,  AND  LANDSCAPE  69 


like,  as  clear  and  deep  and  satisfying  as  rubies 
and  emeralds. 

It  need  scarcely  be  added  after  all  that  has 
been  said  about  light  and  atmosphere  in  con- 
nection with  Titian  and  Tintoretto,  and  their 
handling  of  real  life,  that  Bassano's  treatment 
of  both  was  even  more  masterly.  If  this  were 
not  so,  neither  picture-fanciers  of  his  own  time, 
nor  we  nowadays,  should  care  for  his  works  as 
we  do.  They  represent  life  in  far  more  humble 
phases  than  even  the  pictures  of  Tintoretto, 
and,  without  recompensing  effects  of  light  and 
atmosphere,  they  would  not  be  more  enjoyable 
than  the  cheap  work  of  the  smaller  Dutch 
masters.  It  must  be  added,  too,  that  without 
his  jewel-like  colouring,  Bassano  would  often 
be  no  more  delightful  than  Teniers. 

Another  thing  Bassano  could  not  fail  to  do, 
working  as  he  did  in  the  country,  and  for 
country  people,  was  to  paint  landscape.  He 
had  to  paint  the  real  country,  and  his  skill  in 
the  treatment  of  light  and  atmosphere  was 
great  enough  to  enable  him  to  do  it  well. 
Bassano  was  in  fact  the  first  modern  landscape 
painter.    Titian  and  Tintoretto  and  Giorgione, 


70 


THE  VENETIAN  PAINTERS 


and  even  Bellini  and  Cima  before  them,  had 
painted  beautiful  landscapes,  but  they  were 
seldom  direct  studies  from  nature.  They  were 
decorative  backgrounds,  or  fine  harmonising 
accompaniments  to  the  religious  or  human  ele- 
ments of  the  picture.  They  never  failed  to 
get  grand  and  effective  lines — a  setting  worthy 
of  the  subject.  Bassano  did  not  need  such 
setting  for  his  country  versions  of  Bible  stories, 
and  he  needed  them  even  less  in  his  studies  of 
rural  life.  For  pictures  of  this  kind  the  coun- 
try itself  naturally  seemed  the  best  background 
and  the  best  accompaniment  possible, — indeed, 
the  only  kind  desirable.  Without  knowing  it, 
therefore,  and  without  intending  it,  Bassano 
was  the  first  Italian  who  tried  to  paint  the 
country  as  it  really  is,  and  not  arranged  to  look 
like  scenery. 

XXII.  The  Venetians  and  Velasquez.— 

Had  Bassano's  qualities,  however,  been  of 
the  kind  that  appealed  only  to  the  collectors 
of  his  time,  he  would  scarcely  rouse  the  strong 
interest  we  take  in  him.  We  care  for  him 
chiefly  because  he  has  so  many  of  the  more 


DECLINE  OF  VENETIAN  ART  7 1 

essential  qualities  of  great  art — truth  to  life,  and 
spontaneity.  He  has  another  interest  still,  in 
that  he  began  to  beat  out  the  path  which  ended 
at  last  in  Velasquez.  Indeed,  one  of  the  at- 
tractions of  the  Venetian  school  of  painting  is 
that,  more  than  all  others,  it  went  to  form  that 
great  Spanish  master.  He  began  as  a  sort  of 
follower  of  Bassano,  but  his  style  was  not  fixed 
before  he  had  given  years  of  study  to  Veronese, 
to  Tintoretto,  and  to  Titian. 

XXIII.  Decline  of  Venetian  Art.— Bas- 
sano appealed  to  collectors  by  mere  acci- 
dent. He  certainly  did  not  work  for  them. 
The  painters  who  came  after  him  and  after 
Tintoretto  no  longer  worked  unconsciously,  as 
Veronese  did,  nor  for  the  whole  intelligent 
class,  as  Titian  and  Tintoretto  had  done,  but 
for  people  who  prided  themselves  on  their 
connoisseurship. 

Palma  the  Younger  and  Domenico  Tintoretto 
began  well  enough  as  natural  followers  of 
Tintoretto,  but  before  long  they  became  aware 
of  their  inferiority  to  the  masters  who  had  pre- 
ceded them,  and,  feeling  no  longer  the  strength 


J  2  THE  VENETIAN  PAINTERS 

to  go  beyond  them,  fell  back  upon  painting 
variations  of  those  pictures  of  Tintoretto  and 
Titian  which  had  proved  most  popular.  So 
their  works  recall  the  great  masters,  but  only 
to  bring  out  their  own  weakness.  Padovanino, 
Liberi,  and  Pietro  della  Vecchia  went  even 
lower  down  and  shamelessly  manufactured  pic- 
tures which,  in  the  distant  markets  for  which 
they  were  intended,  passed  for  works  of  Titian, 
Veronese,  and  Giorgione.  Nor  are  these  pic- 
tures altogether  unenjoyable.  There  are  airs 
by  the  great  composers  we  so  love  that  we 
enjoy  them  even  when  woven  into  the  com- 
positions of  some  third-rate  master. 

XXIV.  Longhi.— But  Venetian  painting 
was  not  destined  to  die  unnoticed.  In  the 
eighteenth  century,  before  the  Republic  en- 
tirely disappeared,  Venice  produced  three 
or  four  painters  who  deserve  at  the  least 
a  place  with  the  best  painters  of  that  cen- 
tury. The  constitution  of  the  Venetian 
State  had  remained  unchanged.  Magnificent 
ceremonies  still  took  place,  Venice  was  still  the 
most  splendid  and  the  most  luxurious  city  in 


LONG  HI 


73 


the  world.  If  the  splendour  and  luxury  were 
hollow,  they  were  not  more  so  than  elsewhere 
in  Europe.  The  eighteenth  century  had  the 
strength  which  comes  from  great  self-confidence 
and  profound  satisfaction  with  one's  surround- 
ings. It  was  so  self-satisfied  that  it  could  not 
dream  of  striving  to  be  much  better  than 
it  was.  Everything  was  just  right ;  there 
seemed  to  be  no  great  issues,  no  problems  aris- 
ing that  human  intelligence  untrammelled  by 
superstition  could  not  instantly  solve.  Every- 
body was  therefore  in  holiday  mood,  and  the 
gaiety  and  frivolity  of  the  century  were  of 
almost  as  much  account  as  its  politics  and  cul- 
ture. There  was  no  room  for  great  distinctions. 
Hair-dressers  and  tailors  found  as  much  con- 
sideration as  philosophers  and  statesmen  at  a 
lady's  levee.  People  were  delighted  with  their 
own  occupations,  their  whole  lives  ;  and  what- 
ever people  delight  in,  that  they  will  have 
represented  in  art.  The  love  for  pictures  was 
by  no  means  dead  in  Venice,  and  Longhi 
painted  for  the  picture-loving  Venetians  their 
own  lives  in  all  their  ordinary  domestic  and 
fashionable  phases.    In  the  hair-dressing  scenes 


74  THE  VENETIAN  PAINTERS 


we  hear  the  gossip  of  the  periwigged  barber ; 
in  the  dressmaking  scenes,  the  chatter  of  the 
maid ;  in  the  dancing-school,  the  pleasant 
music  of  the  violin.  There  is  no  tragic  note 
anywhere.  Everybody  dresses,  dances,  makes 
bows,  takes  coffee,  as  if  there  were  nothing 
else  in  the  world  that  wanted  doing.  A  tone 
of  high  courtesy,  of  great  refinement,  coupled 
with  an  all-pervading  cheerfulness,  distinguishes 
Longhi's  pictures  from  the  works  of  Hogarth, 
at  once  so  brutal  and  so  full  of  presage  of 
change. 

XXV.  Canaletto  and  Guardi.— Venice 
herself  had  not  grown  less  beautiful  in  her 
decline.  Indeed,  the  building  which  occu- 
pies the  very  centre  of  the  picture  Venice 
leaves  in  the  mind,  the  Salute,  was  not  built 
until  the  seventeenth  century.  This  was  the 
picture  that  the  Venetian  himself  loved  to 
have  painted  for  him,  and  that  the  stranger 
wanted  to  carry  away.  Canale  painted  Venice 
with  a  feeling  for  space  and  atmosphere,  with 
a  mastery  over  the  delicate  effects  of  mist  pe- 
culiar to  the  city,  that  make  his  views  of  the 


TIE  POLO 


7$ 


Salute,  the  Grand  Canal,  and  the  Piazzetta  still 
seem  more  like  Venice  than  all  the  pictures  of 
them  that  have  been  painted  since.  Later  in 
the  century  Canale  was  followed  by  Guardi, 
who  executed  smaller  views  with  more  of  an 
eye  for  the  picturesque,  and  for  what  may  be 
called  instantaneous  effects,  thus  anticipating 
both  the  Romantic  and  the  Impressionist  paint- 
ers of  our  own  century. 

XXVI.  Tiepolo.— But  delightful  as  Longhi, 
Canale,  and  Guardi  are,  and  imbued  as  they 
are  with  the  spirit  of  their  own  century,  they 
lack  the  quality  of  force,  without  which 
there  can  be  no  really  impressive  style. 
This  quality  their  contemporary  Tiepolo 
possessed  to  the  utmost.  His  energy,  his 
feeling  for  splendour,  his  mastery  over  his 
craft,  place  him  almost  on  a  level  with  the 
great  Venetians  of  the  sixteenth  century,  al- 
though he  never  allows  one  to  forget  what 
he  owes  to  them,  particularly  to  Veronese. 
The  grand  scenes  he  paints  differ  from  those 
of  his  predecessor  not  so  much  in  mere  inferi- 
ority of  workmanship,  as  in  a  lack  of  that  sim- 


76  THE  VENETIAN  PAINTERS 

plicity  and  candour  which  never  failed  Paolo, 
no  matter  how  proud  the  event  he  might  be 
portraying.  Tiepolo's  people  are  haughty,  as 
if  they  felt  that  to  keep  a  firm  hold  on  their 
dignity  they  could  not  for  a  moment  relax 
their  faces  and  figures  from  a  monumental  look 
and  bearing.  They  evidently  feel  themselves  so 
superior  that  they  are  not  pleasant  to  live  with, 
although  they  carry  themselves  so  well,  and  are 
dressed  with  such  splendour,  that  once  in  a 
while  it  is  a  great  pleasure  to  look  at  them.  It 
was  Tiepolo's  vision  of  the  world  that  was  at 
fault,  and  his  vision  of  the  world  was  at  fault 
only  because  the  world  itself  was  at  fault. 
Paolo  saw  a  world  touched  only  by  the  fashions 
of  the  Spanish  Court,  while  Tiepolo  lived 
among  people  whose  very  hearts  had  been 
vitiated  by  its  measureless  haughtiness. 

But  Tiepolo's  feeling  for  strength,  for  move- 
ment, and  for  colour  was  great  enough  to 
give  a  new  impulse  to  art.  At  times  he  seems 
not  so  much  the  last  of  the  old  masters  as 
the  first  of  the  new.  The  works  he  left  in 
Spain  do  more  than  a  little  to  explain  the  re- 
vival of  painting  in  that  country  under  Goya ; 


INFLUENCE  OF  VENETIAN  ART 


77 


and  Goya,  in  his  turn,  had  a  great  influence 
upon  many  of  the  best  French  artists  of  our 
own  times. 

XXVII.    Influence   of  Venetian  Art— 

Thus,  Venetian  painting  before  it  wholly 
died,  flickered  up  again  strong  enough  to  light 
the  torch  that  is  burning  so  steadily  now. 
Indeed,  not  the  least  attraction  of  the  Venetian 
masters  is  their  note  of  modernity,  by  which  I 
mean  the  feeling  they  give  us  that  they  were 
on  the  high  road  to  the  art  of  to-day.  We 
have  seen  how  on  two  separate  occasions  Vene- 
tian painters  gave  an  impulse  to  Spaniards, 
who  in  turn  have  had  an  extraordinary  influ- 
ence on  modern  painting.  It  would  be  easy, 
too,  although  it  is  not  my  purpose,  to  show 
how  much  other  schools  of  the  seventeenth 
and  eighteenth  centuries,  such  as  the  Flemish, 
led  by  Rubens,  and  the  English  led  by  Rey- 
nolds, owed  to  the  Venetians.  My  endeavour 
has  been  to  explain  some  of  the  attractions  of 
the  school,  and  particularly  to  show  its  close 
dependence  upon  the  thought  and  feeling  of 
the  Renaissance.    This  is  perhaps  its  greatest 


78  THE   VENETIAN  PAINTERS 

interest,  for  being  such  a  complete  expression 
of  the  riper  spirit  of  the  Renaissance,  it  helps 
us  to  a  larger  understanding  of  a  period  which 
has  in  itself  the  fascination  of  youth,  and  which 
is  particularly  attractive  to  us,  because  the 
spirit  that  animates  us  is  singularly  like  the 
better  spirit  of  that  epoch.  We,  too,  are  pos- 
sessed of  boundless  curiosity.  We,  too,  have 
an  almost  intoxicating  sense  of  human  capacity. 
We,  too,  believe  in  a  great  future  for  humanity, 
and  nothing  has  yet  happened  to  check  our 
delight  in  discovery  or  our  faith  in  life. 


♦ 

INDEX  TO  THE  WORKS  OF  THE  PRIN- 
CIPAL VENETIAN  PAINTERS. 


NOTE. 

Public  galleries  are  mentioned  first,  then  private  collections, 
and  churches  last.  The  principal  public  gallery  is  always 
understood  after  the  simple  mention  of  a  city  or  town.  Thus, 
Paris  means  Paris,  Louvre,  London  means  London,  National 
Gallery,  etc. 

An  interrogation  point  after  the  number  or  title  of  a  picture 
indicates  that  its  attribution  to  the  given  painter  is  doubtful. 

Distinctly  early  or  late  works  are  marked  E.  or  L. 

It  need  scarcely  be  said  that  the  attributions  here  given  are 
not  based  on  official  catalogues,  and  are  often  at  variance 
with  them. 


ANTONELLO  DA  MESSINA. 


B.  Circa  1444  :  d.  circa  1493.  Began  under  unknown 
Flemish  painter  ;  influenced  by  the  Vivarini  and 
Bellini. 


Antwerp. 
Bergamo. 
Berlin. 


Dresden. 


4.  Crucifixion,  1475. 

Lochis,  222.  St.  Sebastian. 

18.  Portrait  of  Young  Man,  1478. 

l8A.  Portrait  of  Young  Man,  1474. 

25.  Portrait  of  Young  Man  in  Red  Coat. 

52.  St.  Sebastian. 

79 


8o 


WORKS  OF 


London. 


Messina. 
Milan. 


Naples. 

Paris. 

Richmond. 

Rome. 

Venice. 

Vicenza. 


673.  The  Saviour,  1465.  1141.  Portrait  of 
Man.  1 166.  Crucifixion,  1477.  St.  Jerome  in 
his  Study. 

Madonna  with  SS.  Gregory  and  Benedict,  1473. 
Museo  Civico,  95.  Portrait  of  Man  wearing 
Wreath. 

Prince  Trivulzio,  Portrait  of  Man,  1476. 

Sala  Grande,  16.  Portrait  of  Man. 

1 134.  Condottiere,  1474. 

Sir  F.  Cook,  Ecce  Homo. 

Villa  Borghese,  396.  Portrait  of  Man. 

Academy,  Sala  XIV,  3.  Ecce  Homo. 

Giovanelli,  Portrait  of  Man. 

Sala  IV,  17.  Christ  at  Column. 


JACOPO  DI  BARBARI. 

1450  circa — 15 16  circa.    Pupil  of  Alvise  Vivarini  ;  influenced 
by  Antonello  da  Messina. 

Augsburg.  Still  Life  Piece,  1504. 

Bergamo.    Gallery  Lochis,  147,  148.  Heads  of  Young 
Men. 

Frizzoni-Salis,  Head  of  Christ. 
Berlin.         26A.  Madonna  and  Saints. 
Dresden.      57.  Christ  Blessing. 

58,  59.  SS.  Catherine  and  Barbara. 

294.  Galatea.  L. 
Florence.     Pitti,  384.  St.  Sebastian. 
London.      Mr.  Doetsch,  Portrait  of  Young  Man.  L. 
Treviso.      S.  Niccol6,  Frescoes  around  Tomb  of  Onigo. 

18  Piazza  del  Duomo,  Frescoes  on  Facade. 
Venice.        Lady  Layard,  A  Falcon. 

Frari,  2d  Chapel  L.  of  Choir,'  Decorative 
Frescoes. 

Vienna.       203.  Portrait  of  Young  Man. 
Weimar.      Head  of  Christ. 


THE  VENETIAN  PAINTERS 


Si 


Bergamo. 

Douai. 

Dresden. 

Florence. 


ft 


BARTOLOMMEO  VENETO. 
Active  1505-1555.    Pupil  of  Gentile  Bellini  ;  influenced  by 

Bergamask  and  Milanese  painters. 
Belluno.      22.  Madonna. 

Carrara,  185.  Landscape.  E. 
Lochis,  127.  Madonna,  1505. 
Count  Roncalli,  Resurrection. 
324.  Portrait  of  Young  Man. 
292.  Salome. 

Uffizi,  650.  Portrait  of  a  Man,  1555. 
Torrigiani,  Portraits  of  Man  and  Boy.    (?)  L. 
13.  Portrait  of  a  Courtesan. 
20.  St.  Catherine. 

Prince  Giorgio  Doria,  Portrait  of  a  Lady. 
287.  Portrait  of  Ludovico  Martineugo,  1530. 
Mr.  Benson,  Madonna  and  Angels.  E. 
Capt.  Holford,  Portrait  of  Man. 
Ambrosiana,  24.  Madonna.    Portrait  of  Man 

in  Black. 
Borromeo,  St.  Catherine. 
Nancy.         Portrait  of  Young  Man. 
Paris.  1673.  Portrait  of  Lady. 

Rome.  Torlonia,  69.  Portrait  of  Young  Man. 
Venice.       Palazzo  Ducale,  Chapel,  Madonna. 


Frankfort. 

Genoa. 
London. 


Milan. 


MARCO  BASAITI. 
Circa  1470-1527.  Pupil  of  Alvise  Vivarini  ;  follower  of  Bellini. 


Bergamo. 


Berlin. 


Carrara,  165.  The  Saviour,  1517. 
Lochis,  188.  Portrait  of  Man. 
Morelli,  Portrait  of  Man,  1521. 
Frjzzoni-Salis,    Madonna  with  SS. 

and  Francis. 
Piccinelli,  St.  Jerome  in  Desert. 


6.  Pieta.    20.  Altar-piece. 
40.  Madonna.  E. 


Monica 


37.  St.  Sebastian. 


82 


WORKS  OF 


London. 


Milan. 
Munich. 
Murano. 
Padua. 

Rome. 

Strasburg. 

Venice. 


Ma- 


An- 


Verona. 
Vienna. 


281.  St.  Jerome.    599.  Madonna. 

Mr.  Benson,  St.  Jerome  beside  a  Pool,  1505 

Portrait  of  Man.    Madonna  and  Saints. 
Mr.  Salting,  Madonna.  E. 
Ambrosiana,  30.  Resurrected  Christ. 
1031.  Madonna,  Saints,  and  Donor.  E. 
S.  Pietro,  Assumption  of  Virgin. 
SALA  Emo,  225.  Portrait  of  Man,  1521. 

donna  with  SS.  Liberale  and  Peter. 
Doria,  St.  Sebastian. 
St.  Jerome. 

Academy,  Sala  I,  8.  St.  James.    11.  St 
tony  Abbot.    13.  Dead  Christ. 
Sala  VII,  24.  Christ  in  the  Garden,  15 10. 
Sala  XIV,  18.  St.  Jerome. 
Sala  XV,  11.  Calling  of  Children  of  Zebedee, 
1 5 10. 

Museo  Correr,  Sala  IX,  24.  Madonna  and 
Donor.    34.  Christ  and  Angels. 

Giovanelli,  St.  Jerome  in  Desert. 

S.  Pietro  in  Castello,  St.  George 
Dragon,  1520.  St.  Peter  enthroned 
four  other  Saints. 

Salute,  St.  Sebastian. 

115.  St.  Sebastian. 

30.  Calling  of  Children  of  Zebedee,  1515. 


and 
and 


JACOPO  BASSANO. 

1 5 10-1592.    Pupil  of  Bonifazio  Veronese. 

Augsburg.   272.  Madonna  with  SS.  John  and  Roch. 
Bassano.      1.  Susanna  and  Elders.    E.  * 

2.  Christ  and  Adulteress.  E. 

3.  The  Three  Holy  Children.  E. 

4.  Madonna,  SS.  Lucy  and  Francis,  and  Donor. 

E. 


THE  VENETIAN  PAINTERS  8j 


Bassano  (Con.).    5.  Flight  into  Egypt.  E. 

6.  St.  John  the  Baptist. 

7.  Paradise. 

8.  Baptism  of  St.  Lucilla. 

9.  Adoration  of  Shepherds. 

10.  St.  Martin  and  the  Beggar. 

11.  St.  Roch  recommending  Donor  to  Virgin. 

12.  St.  John  the  Evangelist  adored  by  a  Warrior. 

13.  Descent  of  Holy  Spirit. 

14.  Madonna  in  Glory,  SS.  Lucy  and  Agatha.  L. 
Duomo,  St.  Lucy  in  Glory,  and  Martyrdom  of 

Stephen.    L.  Nativity. 
S.  Giovanni,  Madonna  in  Glory,  SS.  Giustina, 

Barbara,  and  Mark. 
Bergamo.    Carrara,  109.  Male  Portrait. 

Lochis,  54.  Portrait  of  Lawyer.    82.  Portrait 

of  a  Painter. 
Frizzoni-Salis,  Madonna.     Portrait  of  Old 

Man. 

Casa  Suardi,  St.  Jerome  in  Desert. 
Corridor  IV,  Two  Male  Busts. 
Duomo,  Christ  at  Emaus.  E. 
253.  Israelites  in  Desert.    256.  Moses  striking 
Rock. 

258.  Conversion  of  Paul. 
Vescovado,  Portrait  of  Old  Man. 
Uffizi,  610.  Two  Hunting  Dogs. 
Hampton  Court.    94.  Head  of  Old  Man. 
136.  Male  Portrait. 
142.  Jacob's  Journey. 
153.  Boaz  and  Ruth. 
163.  Shepherds'  Offering.  E. 
169.  Christ  in  the  House  of  the  Pharisee. 
176.  Assumption  of  Virgin. 
210.  Men  fighting  Bears. 
223.  Tribute  Money. 


Bologna. 

Cittadella. 

Dresden. 


Feltre. 
Florence. 


84  WORKS  OF 

London.  173.  Portrait  of  Man.  228.  Christ  and  the 
Money  Changers.  277.  The  Good  Samari- 
tan. 

Mr.  Benson,  St.  John  in  the  Wilderness. 
Mr.  Doetsch,  Portrait  of  Man  aged  27,  1558. 
Portrait  of  a  Lady.    Susanna  and  the  El- 
ders. 

Milan.         Ambrosiana,  226.  Annunciation  to  Shepherds. 

L.    230.  Adoration  of  Shepherds.  E. 
Munich.       1128.  Old  Man,  Son  and  Grandson.    1148.  St. 

Jerome  in  Desert.    11 50.  Deposition  from 

Cross. 

1151.  Madonna  enthroned  and  two  Saints. 

Lotzbeck  Collection,  ioi.  Portrait  of  Lady. 
Padua.        S.  Maria  in  Vanzo.  Entombment. 
Paris.  1426.  Christ  bearing  Cross.    1428.  Vintage.  L. 

Rome.  Villa  Borghese,  144.  Last  Supper.  127.  The 
Trinity. 

Venice.        Academy,  Sala  II,  36.  Christ  in  Garden. 

Sala  VII,  9.  Portrait  of  a  Venetian  Noble. 
19.  St.  Eleuterius  blessing  the  Faithful. 
Palazzo  Ducale,  Anti-Collegio.   Jacob's  Jour- 
ney. 

Palazzo  Reale,  St.  Jerome,  1569. 
S.  Giacomo  dall'  Orio,  Madonna  in  Glory 
and  two  Saints. 
Verona.       214.  Portrait  of  a  Senator. 
Vicenza.      Sala  V,  Madonna  and  Saints.  E. 

Entrance  Hall,  2.  Madonna,  St.  Mark,  and 
two  Senators. 
Vienna.       34.  The  Good  Samaritan. 

35.  Thamar  led  to  the  Stake. 

36.  Adoration  of  Magi. 

38.  Rich  Man  and  Lazarus. 

39.  The  Lord  shows  Abraham  the  Promised  Land. 

40.  The  Sower, 


THE  VENETIAN"  PAINTERS  85 

Vienna  (Con.).    41.  A  Hunt. 

43.  Way  to  Golgotha. 

44.  Noah  entering  the  Ark. 

45.  Christ  and  the  Money  Changers. 

46.  After  the  Flood. 

47.  SS.  Sebastian,  Florian,  and  Roch. 

48.  Adoration  of  Magi. 
467.  Portrait  of  Procurator. 
487.  Portrait  of  Senator. 
542.  Christ  bearing  Cross. 

Academy,  20.  Deposition.    21.  Portrait  of  Pro- 
curator. 

Woburn  Abbey.    16.  Portrait  of  Venetian  Senator. 

GENTILE  BELLINI. 
1426  (?)-i507.     Pupil  of  his  father,  Jacopo   Bellini ;  in- 
fluenced by  the  Paduans. 
Buda-Pesth.  Portrait  of  Catherine  Cornaro. 
London.        808.  St.  Peter  Martyr. 

1213.  Portrait  of  Mathematician. 
South  Kensington,    Furniture  Depart- 
ment, Head  of  St.  Dominic. 
Mr.  Ludwig  Mond,  Madonna  Enthroned.  E. 
Milan.  Brera,  168.  Preaching  of  St.  Mark.   L.  Fin- 

ished by  Giovanni  Bellini. 
Paris.  59.  Two  Heads.    (?)  L. 

Rome.  Vatican,  Portrait  of  Doge.    (?)  L. 

Venice.     '   Academy,  Corridor,  13.  Beato  Lorenzo  Giu- 
stiniani,  1465. 
Sala  VIII,  5.  Miracle  of  True  Cross,  1500. 

29.  Corpus  Christi  Procession,  1496. 
Sala  XV,  7.  Healing  accomplished  by  Frag- 
ment of  True  Cross.  L. 
San  Marco  Fabriceria,  Organ  Shutters, 
SS.  Theodore  and  Mark,  SS.  Jerome  and 
Francis.  E, 


86 


WORKS  OF 


Venice  {Con.).    Sir  Henry  Layard,  Adoration  of  Magi. 

Portrait  of  Sultan  Mohamet,  1480. 


GIOVANNI  BELLINI. 


1428-1516.    Pupil  of  his  father,  Jacopo  ;  formed  in  Padua 
under  the  influence  of  Donatello. 


Bergamo. 

Berlin. 

Florence. 

London. 


Milan. 


Murano. 

Naples. 
Pesaro. 

Rimini. 

Turin. 

Venice. 


Lochis,  210.  Madonna.  E. 

Morelli,  27.  Madonna.    41.  Madonna. 

4.  Pieta.    L.    28.  Dead  Christ. 
Uffizi,  631.  Allegory  of  Tree  of  Life.  L. 
189.  Portrait  of  Loredano.    L.    280.  Madonna 

L.     726.   Agony  in  Garden.     E.  1233 

Blood  of  Redeemer.  E. 
Mr.  Ludwig  Mond,  Dead  Christ.  Madonna. 
Dr.  Richter,  Madonna.  E. 
Brera,  284.  Pieta.    E.    261.  Madonna.  297, 

Madonna,  15 10. 
Dr.  Gust.  Frizzoni,  Madonna.  E. 

5.  Pietro,  Madonna  with  SS.  Mark  and  Augus. 

tin  and  Doge  Barbarigo,  1488. 
SALA  Grande,  7.  Transfiguration. 
11.  Crucifixion.  (?).    E.    52.  God  the  Father 
S.  Francesco,  Altar-piece  in  many  parts. 
Dead  Christ.  E. 
779.  Madonna.  E. 

Academy,  Sala  II,  17.  Madonna.    24.  Ma 
donna. 

SALA  III,  47,  48,  49,  50,  51.  Small  Allegories 
L. 

Sale  Palladiane,  33 

Catherine  and  Magdalen 

with  SS.  Paul  and  George. 
SALA  XIV,  19.  Madonna. 
Sala  XV,  10.  Madonna  with  five  Saints. 


Madonna    with  St. 
44.  Madonna 


THE  VENETIAN  PAINTERS  6*7 


Venice  (Con.)    Museo  Correr,  Sala  VII,  23.  Transfigura- 
tion. E. 

Sala  IX,  27.  Dead  Christ.    E.    46.  Crucifix- 
ion.   E.    54.    Dead  Christ  supported  by 
three  Angels.  E. 
Palazzo  Ducale,  Sala  di  Tre,  Pieta.  E. 
Frari,  Triptych,  Madonna  and  Saints,  1488. 
S.  Francesco  della  Vigna,  Madonna  and  four 

Saints,  1507. 
S.  Giovanni  Crisostomo,  SS.  Jerome,  Augus- 
tine, and  Christopher,  15 13. 
S.  Maria  dell'  Orto,  Madonna.  E. 
S.  Zaccaria,  Madonna  and  four  Saints,  1505. 
77.  Madonna.  E. 
S.  Corona,  Baptism,  1510. 


Verona. 
Vicenza 


JACOPO  BELLINI. 

Active  1430-1466.    Pupil  of  the  Umbrian  painter,  Gentile 
da  Fabriano,  and  of  the  Veronese,  Pisanello. 

S.  Alessandro.    Annunciation,  with  five  Pre- 
delle. 

British  Museum,  Sketch-Book.  E. 
Tadini,  Madonna. 
Sala  IV,  Christ  in  Limbo.  (?) 
Sketch-Book.  L. 

Academy,  Corridor,  18.  Madonna. 
Museo  Correr,  Sala  IX,  42.  Crucifixion.  (?) 
S.  Trovaso,  S.  Giovanni  Crisogono  on  Horse- 
back. (?) 
365.  Christ  on  Cross. 

BISSOLO. 

1464-1528.    Pupil  and  assistant  of  Giovanni  Bellini. 
Berlin.        43.  Altar-piece. 


Brescia. 

London. 

Lovere. 

Padua. 

Paris. 

Venice. 


Verona. 


88 


WORKS  OF 


Brescia. 

Genoa. 

Hampton 

Court. 
London. 

Milan. 

Rome. 
Treviso. 

Venice. 


Tosio,  Sala  XIV,  3.  Madonna  and  Saints. 
Annunziata,  Madonna  and  four  Saints. 


E. 


Vienna. 


117.  Portrait  of  Man.  E. 

Mr.  Benson,  Annunciation.  Madonna. 

Mr.  Mond,  Madonna  and  Saints. 

Brera,  237.  St.  Stephen.    285.  St.  Antony  of 

Padua.    298.  A  Bishop. 
Villa  Borghese,  176.  Madonna.  E. 
Duomo,  Three  Saints  and  Donor. 
S.  Andrea,  Madonna  and  two  Saints. 
Academy,  Sala  II,  40.  Dead  Christ. 
Sale  Palladiane,  32.  Presentation  in  Temple. 
Sala  VIII.  Christ  crowning  S.  Catherine. 
SALA  XIV,  28.  Madonna  with  SS.  James  and 

Job. 

Museo  Correr,  SALA  IX,  57.  Madonna  with 
St.  Peter  Martyr. 

S.  Giovanni  in  Bragora,  Triptych. 

S.  Maria  Mater  Domini,  Transfiguration. 

Redentore,  Madonna  with  SS.  John  and  Cath- 
erine. 

Sir  H.  Layard,  Madonna  with  SS.  Michael 

and  Ursula  and  female  Donor. 
60.  Lady  at  Toilet,  1515. 
SALA  II,  80.  Baptism. 


BONIFAZIO  VERONESE. 

Active  circa  15 10-1540.    Pupil  of  Palma  Vecchio  ;  influenced 
by  Giorgione. 

Bergamo.    Carrara,  197,  198.  Small  mythological  Scenes. 

Frizzoni-Salis,  Parable  of  Sower. 
Campo  S.  Piero.    Oratory  of  S.  Antonio,  Preaching 

of  St.  Antony  (in  part). 
Dresden.     208.  Finding  of  Moses. 


THE  VENETIAN  PAINTEkS  89 


Florence. 


Hague. 
Hampton 
Lille. 
London. 


Milan. 


Modena. 

Paris. 
Rome. 


Venice. 


Pitti,  84.  Madonna,  St.  Elizabeth,  and  Donor. 
E. 

89.  Rest  in  Flight. 
161.  Finding  of  Moses. 
405.  Christ  among  the  Doctors  (in  part). 
252.  Bust  of  Woman. 
Court.    146.  Santa  Conversazione. 
717.  Esther  before  Ahasuerus. 
1202.  Santa  Conversazione.  E. 
Mr.  Benson,  Allegories  of  Morning,  and  of 

Night  (in  part). 
Mr.  Butler,  Santa  Conversazione.    Rape  of 

Helen.    Subject  from  a  Romance.^-* 
Dr.  Richter,  Santa  Conversazione.  E.  Joseph 

drawn  out  of  the  Well.    Head  of  Pompey 

brought  to  Caesar. 
Brera,  209.  Finding  of  Moses. 
Ambrosiana,  231.  Holy  Family  with  Tobias 

and  Angel.  E. 
Poldi-Pezzoli,  Pinacoteca,  99.  Doctor  Visit- 
ing a  Patient. 
138.  Justice  and  Temperance  (in  part). 
142.  Truth  and  Force  (in  part). 
1 1 71.  Santa  Conversazione. 
Villa  Borghese,  156.  Mother  of  Zebedee's 

Children.   186.  Return  of  the  Prodigal  Son. 
Chigi,  Finding  of  Moses. 

Colonna,  Holy  Family  with  SS.  Jerome  and 
Lucy. 

Academy,  Sala  VII,  35.  Rich  Man's  Feast. 

59.  Massacre  of  Innocents. 
SALA  IX,  6.  Judgment  of  Solomon,   1533  (in 
part). 

Palazzo  Reale,  Madonna  with  SS.  Catherine 

and  John  the  Almsgiver,  1533. 
Giovanelli,  Santa  Conversazione. 


go 


WORKS  OF 


Venice  (Con.).    Sir  H.  La  yard,  Twelve  very  small  pic- 
tures :  Rustic  Occupations. 
Vienna.       68.  Santa  Conversazione. 

72.  Triumph  of  Love.  73.  Triumph  of  Chastity. 

547.  Salome. 


FRANCESCO  BONSIGNORI. 

1453  (?)— 1519.  Pupil  of  Bartolommeo  and  Alvise  Vivarini  ; 
influenced  by  Giovanni  Bellini,  and  later  by  Mantegna 
and  his  own  townsman,  Liberale  of  Verona. 

Bergamo.    Lochis,  154.  Portrait  of  a  Gonzaga. 

Morelli,  45,  The  Widow's  Son.  L. 
Berlin.        46°.  St.  Sebastian. 
Florence.     Bargello,  Christ  bearing  Cross.  L. 
London.      736.  Portrait  of  Man,  1487. 

Mr.  Alfred  Morrison,  Portrait  of  Man. 
Mantua.      Accademia  Virgiliana,  Way   to  Golgotha. 

Vision  of  the  Nun  Osanna. 
Milan.         Brera,  163.  St.  Bernardino.    170.  SS.  Bernar- 
dino and  Louis  holding  the   Initials  of 
Christ. 

Poldi-Pezzoli,  Head  of  a  Female  Saint.  St. 
Bernardino.    Profile  of  Old  Man.    Bust  of 
Venetian  Noble. 
Venice.       Palazzo  Ducale,  Directors'   Room,  Ma- 
donna. E. 

S.  Giovanni  e  Paolo,  2d  Altar  R.  Altar-piece 
in  9  parts.  E. 

Verona.  148.  Madonna,  1483.  271.  Madonna  enthroned 
with  four  Saints,  1484. 

S.  Bernardino,  Madonna  enthroned  with  SS. 
Jerome  and  George,  1488. 

S.  Nazzaro  e  Celso,  Madonna  and  Saints,  fin- 
ished by  Girolamo  dai  Libri. 

S.  Paolo,  Madonna  with  St.  Antony  Abbot 
and  the  Magdalen.  E. 


THE  VENETIAN  PAINTERS. 


91 


PARIS  BORDONE. 
r495-i57o.    Pupil  and  follower  of  Titian;  influenced  later 

by  Michelangelo. 
Bergamo.    Lochis,  41,  42.  Vintage  Scenes. 
Berlin.         156.    Portrait  of  Man  in  Black. 

169.  Chess  Players. 

191.  Madonna  and  four  Saints. 
Cologne.  Bathsheba. 
Dresden.      203  Apollo  and  Marsyas. 

204   Diana  as  Huntress. 

205.  Holy  Family  and  St.  Jerome. 
Florence.     Pitti,  109.  Portrait  of  Woman. 

Uffizi,  607.  Portrait  of  Young  Man. 
Genoa.        Brignole-Sale,  Sala  V.  Portrait  of  Man. 

Sala  VIII.  Santa  Conversazione.    Portrait  of 
Man. 

Hampton  Court.    118.    Madonna  with  male  and  female 
Donors. 

London.       637.  Daphnis  and  Chloe. 

674.  Portrait  of  Lady. 

Bridgewatek  House,  Holy  Family. 

Lady  Eastlake,  Male  Portrait. 

Dr.  Richter,  Christ  among  the  Doctors. 
Lovere.       Tadini,  Madonna  with  SS.  George  and  Chris- 
topher. 

Milan.         Brera,  212.  Baptism.     216.  Descent  of  Holy 
Spirit. 

v  241.  S.  Dominic  presented  to  Saviour  by  Virgin. 
242.  Madonna  and  Saints. 
306  bis.  Three  Heads. 

Archbishop's  Palace,  St.  Ambrose  presenting 

a  General  to  Virgin. 
S.  Maria  presso  Celso,   Madonna  and  St. 

Jerome. 

Munich.       1120.  Portrait  of  Man,  1523. 

1 121.  Man  Counting  Jewels. 


92 


WORKS  OF 


Padua.         SALA  Emo,  93.   Christ   taking  leave   of  his 
Mother. 

Paris.  1178.  Portrait  of  Man.    1179.  Portrait  of  Man, 

I540. 

Richmond.  Sir  F.  Cooke,  Hunting  Piece. 

Rome.         Villa  Borghese,  119.  Jupiter  and  Antiope. 

Colonna,  Holy  Family,  SS.  Sebastian,  and 
Jerome. 

Doria,  Venus  and  Mars. 
Siena.         447.  Annunciation. 
Strasburg.  Madonna  and  St.  Jerome. 

Treviso.      4.  Madonna  with  SS.  Jerome  and  John  the 
Baptist. 

Duomo,  Adoration  of  Shepherds.  Madonna 

with  SS.  Sebastian  and  Jerome.  Gospel 

Scenes  (on  a  small  picture). 
Venice.        Academy,  Sala  VII,  27.  Fisherman  and  Doge. 

E.    61.  Paradise. 
SALA  XVI,  Storm  calmed  by  S.  Mark,  finished 

by  Bordone,  probably  begun  by  Giorgione. 
Palazzo  Ducale,  Chapel,  Dead  Christ. 
Giovanelli,  Madonna  and  Saints. 
Sir  H.  Layard,  Christ  baptising  a  Youth  in 

Prison. 

S.  Giovanni  in  Bragora,  Last  Supper. 
S.  Giobbe,  S.  Andrew  and  two  other  Saints. 
Vienna.       87.  Allegory. 

88.  Allegory. 

89.  Lady  at  Toilet. 

90.  Young  Woman. 

Czornin,  Venetian  adoring  Cross. 
Lichtenstein,  St.  Sebastian. 


THE   VENETIAN  PAINTERS  93 


ANTONIO  CANALE,  called  CANALETTO. 
1697-1768. 

Dresden.      581.  The  Grand  Canal. 

582.  S.  Giovanni  e  Paolo. 

583.  Campo  S.  Giacomo  di  Rialto. 

584.  Piazza  di  S.  Marco. 
Florence.     Uffizi,  1064.  The  Piazzetta. 
Hampton  Court.    The  Colosseum,  1753. 
London.       127.  Scuola  della  Carita. 

Dorchester  House,  View  of  Piazzetta  from 
Lagoon. 

Mr.  Mond,  Two  Views  of  the  Piazza. 

Dr.  Richter,  The  Dogana. 
Milan.         Casa  Sormani,  The  Bucentaur.    Reception  of 

an  Ambassador. 
Paris.  1203.  The  Salute. 

Vienna.       Lichtenstein,  Two  Views  of  Venice. 
Windsor  Castle.    Series  of  Large  Views  of  the  Piazza. 
Woburn  Abbey.    Twenty-four  Views  of  Venice. 

GIOVANNI  BUSI,  called  CARIANI. 

Circa  1480-1544.    Pupil  of  Giovanni  Bellini  and  Palma ; 
influenced  by  Giorgione  and  Carpaccio. 

Bergamo.    Carrara,  67.  Madonna  with  SS.  Helen,  Con- 
stantine,  and  other  Saints.  L. 
85.  Portrait  of  Lady.    135.  Bust  of  Man. 
Xochis,  2.  Portrait  of  Lady. 
85.  Christ  on  Cross,  bust  of  Donor,  15 18. 
146.  Woman  playing,  and  Shepherd  asleep. 
150.  St.  Antony  of  Padua.  E. 
153.  Portrait  of  Monk. 
165.  Portrait  of  Man. 
172.  Christ  bearing  Cross.  E. 
184.  Portrait  of  Bened.  Caravaggio. 
192.  St.  Stephen. 


94 


WORKS  OF 


3UM 


Bergamo  {Con.).    Lochis,  196.  St.  Catherine. 

Morelli,  Madonna.    L.    Portrait  of  Man. 

Duomo,  Back  of  High  Altar,  Madonna.  E. 

Baglioni,  Madonna  and  Donor,  1520. 

Frizzoni-Salis,  Madonna  and  Saints.  L. 

Piccinelli,  Flight  into  Egypt.  L. 

Roncalli,  Family  Group,  15 19. 

Suardi,  St.  Jerome.    Portrait  of  Senator. 
Berlin.         185.  Girl  in  Landscape.    188.  Portrait  of  Man. 
Hampton  Court.     135.   Adoration    of    Shepherds.  L. 
Venus.  L. 

London.      41.  Death  of  St.  Peter  Martyr.    L.  1203.  Ma- 
donna and  Saints.  L. 

South  Kensington,  Venus  and  Mars  (lent). 

Mr.  Benson,  Madonna  and  Donors.  Portrait 
of  Man  wearing  Sword. 

Mr.  Dortsch,  Nativity. 

Sir  William  Farrer,  Portrait  of  Man. 

Mr.  Salting,  Portrait  of  Senator. 
Milan.         Brera,   210.  Madonna  and  Saints.    L.  291. 
Madonna.  L. 

Museo  Civico,  106.  Lot  and  his  Daughters. 
Collection  dell'  Acqua.  Portrait  of  a 
Lady. 

Ambrosiana,  Way  to  Golgotha. 

Bonomi-Cereda,  Portrait  of  Man.  Magdalen. 
Munich.       1107.  Portrait  of  Man. 

Lotzbeck  Collection,  100.  Portrait  of  Man. 
Paris.  1 135.  Madonna,  Saints,  and  Donor.  E. 

1 1 59.  Holy  Family  with  SS.  Sebastian  and 
Catherine. 

Rome.         Villa  Borghese,  30.  Sleeping  Venus.  164. 

Madonna  and  St.  Peter. 
Torlonia,  24.  Santa  Conversazione. 
St.  Petersburg.    116.  Young  Woman  and  Old  Man. 
Strasburg.  69.  Young  Man  playing  Guitar.     Portrait  of 

old  Venetian, 


THE  VENETIAN  PAINTERS  95 


Stuttgart. 
Venice. 


Vicenza. 
Vienna. 


Zogno. 


36.  Portrait  of  a  Lady. 

Academy,  Sala  II,  94.  Portrait  of  Man.  no. 

Holy  Family. 
Sale  Palladiane,  35.    Portrait  of  Man. 
Sala  XIV,  22.  Bust  of  Old  Woman. 
Sala  II,  41.  Madonna  and  Saints. 
162.  St.  Sebastian.  163.  Christ bearingCross.  240. 

The  "Bravo."    319.  St.  John  Evangelist. 
Academy,  77.     Madonna  with  SS.  John  and 

Catherine. 
Church,  Adoration  of  Shepherds. 


VITTORE  CARPACCIO. 

Active  1478-1522.    Pupil  and  follower  of  Gentile  Bellini. 


Berlin. 

Ferrara. 
Florence. 

London. 


Milan. 


Paris. 
Stuttgart. 

Venice. 


14.  Madonna  with  SS.  Catherine  and  Jerome.  E. 
23.  Consecration  of  Stephen,  1511. 
Sala  VIII,  10.  Death  of  the  Virgin,  1508. 
Uffizi,  583  bis.  Fragment,  Finding  of  True 
Cross. 

750.  Madonna  with  SS.  John  and  Christopher, 

and  Doge  Giovanni  Mocenigo,  1478. 
Mr.  Benson,  Female  Saint  reading. 
Brera,  288.   Stephen   disputing,   1514.  307. 

Presentation  of  Virgin.    L.    309.  Marriage 

of  Virgin.  L. 
1211.  Stephen  preaching.  L. 
13.  Glory  of  St.  Thomas,  1507. 
122.  Martyrdom  of  Stephen,  1515. 
Academy,  Sala  VII,  54.  Martyrdom  of  the 

10,000  Virgins,  151 5. 
Sala  VIII,  2.  Healing  of  Madman  in  view  of 

Rialto,  1494.    10,  11,  14,  16,  1495  ;  18, 

1490 ;    20,    23,    27,     1493  ;    32,  1491. 

Story  of  St.  Ursula.  34.  Meeting  of  Joachim 

and  Anne,  15 1 5. 
Sala  XV,  8.  Presentation  of  Infant  Christ, 

1510- 


96 


WORKS  OF 


Venice  (Con.).  Museo  Correr,  Sala  IX,  14.  Visitation.  L. 
Sala  X,  8.  Two  Courtesans. 

Palazzo  Ducale,  Sala  di  Tre,  Lion  of  S. 
Marco,  1516. 

S.  Giorgio  degli  Schiavoni,  ten  pictures  along 
walls  of  Oratory  on  ground  floor,  and 
Madonna  over  altar.  St.  George  slaying 
Dragon  ;  St.  George  bringing  Dragon  cap- 
tive ;  St.  George  baptising  the  Princess  and 
her  Father,  MDV  .  .  .;  Story  of  St.  Trypho- 
nius  ;  Agony  in  Garden  ;  Christ  in  House  of 
Pharisee,  1502  ;  St.  Jerome  bringing  his 
Lion  to  Monastery  ;  Burial  of  St.  Jerome, 
1502  ;  St.  Jerome  in  his  Study. 

S.  Vitale,  St.  Vitale  between  SS.  George  and 
Valeria,  15 14. 

Sir  Henry  Layard,  Augustus  and  Sibyl.  L. 
Death  and  Assumption  of  Virgin.    L.  St. 
Ursula  taking  leave  of  her  Father. 
Vienna.       128.  Christ  adored  by  Angels,  1496. 


VINCENZO  CATENA. 

Active  1495-1531.    Pupil  of  the  Bellini;  influenced  by  Car- 
paccio  and  Giorgione. 

Bergamo.    Carrara,  II,  Christ  at  Emaus. 

Berlin.         32.   Portrait  of  Fugger.    L.     19.  Madonna, 

Saints,  and  Donor.  E. 
Buda-Pesth.  Madonna  and  Saints.  E. 
Dresden.     65.  Holy  Family.  L. 
London.       234.  Warrior  adoring  Infant  Christ.  L. 

694.  St.  Jerome  in  his  Study.  L. 

1 160.  Adoration  of  Magi.  L. 

Mr.  Benson,  Holy  Family.  L. 

Mr.  Beaumont,  Nativity.  (?) 

Lord  Brownlow,  Nativity. 

Mr,  He^eltine,  Madonna. 


THE  VENETIAN  PAINTERS 


97 


London  (Con.).  Mr.  Mond,  Madonna,  Saints  and  Donors.  E. 

Dr.  Richter,  Christ  giving  Keys  to  Peter  in 

presence  of  three  female  Saints. 
Padua.        Sala  Emo,  29.  Circumcision.  E. 
Paris.  1 1 57.  Reception  of  Venetian  Ambassadors  at 

Cairo. 

Venice.       Palazzo  Ducale,  Sala  di  Tre,  Madonna, 
two  Saints,  and  Doge  Loredan.  E. 
Quirini-Stampalia,  Sala  III,  r.  Judith.  L. 
Giovanelli,  Madonna  with  John  the  Baptist 

and  female  Saint.  E. 
S.  Maria  Mater  Domini,  St.  Christina. 
S.  Simeon  Profeta,  The  Trinity.  E. 
S.  Trovaso,  Madonna.  E. 
Vienna.       151.  Portrait  of  a  Canon. 


GIOVANNI  BATTISTA  CIMA. 

1460-1517  circa.     Pupil  of  Alvise  Vivarini,  influenced  by 
Giovanni  Bellini. 

Bergamo.    Morelli,  57.  Madonna. 
Berlin.         2.  Madonna  enthroned  with  four  Saints. 
7.  Madonna  and  Donor. 
15.  Healing  of  Anianus. 
17.  Madonna. 
Bologna.     61.  Madonna. 
Conegliano.  Duomo,  Madonna  and  Saints,  1493. 
Dresden.      61.  The  Saviour.    63.  Presentation  of  Virgin. 
London.  s    300.   Madonna.    634.   Madonna.    816.  Incre- 
dulity of  Thomas,  1504.   1 120.  St.  Jerome. 
Mr.  Ludwig  Mond,  Two  Saints. 
Milan.         Brera,  191.  SS.  Peter  Martyr,  Augustine,  and 
Nicholas  of  Bari. 
286.  SS.  Jerome,  Nicholas  of  Tolentino,  Ursula 

and  another  female  Saint. 
289.  SS.  Luke,  Mary,  John  the  Baptist  and 
Mark. 


98 


WORKS  OF 


Modena. 
Munich. 

Parma. 


Paris. 

Richmond. 

Venice. 


Milan  {Con.).    Brera,  293.  Madonna. 

300.   St.  Peter  between  John  the  Baptist  and 
St.  Paul,  1 5 16. 

302.  St.  Jerome. 

303.  St.  Giustina  and  two  other  Saints. 
Poldi-Pezzoli,  Head  of  Female  Saint. 
143.  Pieta. 

1033.  Madonna  with  Mary  Magdalen  and  St. 
Jerome.  E. 

360.  Madonna  with  SS.  Cosmas  and  Damian. 

361.  Madonna  with  SS.  Michael  and  Augustine. 
370.  Endymion. 
373.  Apollo  and  Marsyas. 
1259.  Madonna  with  John  and  Magdalen. 
Sir  F.  Cook,  Madonna. 

Academy,  Sala  II,  48.  Madonna  with  SS. 
John  and  Paul. 
Sale  Palladiane,  39.  Pieta.    47.  Madonna. 

65.  Christ,  Thomas,  and  Magnus. 
SALA  IX,  21.  Madonna  with  six  Saints. 
Sala  XIV.  Tobias  and  Angel,  SS.  James  and 
Nicholas. 
Carmine,  Adoration  of  Shepherds. 
S.  Giovanni  in  Bragora,  Baptism,  1494. 
SS.  Helen  and  Constantine. 
Three  Predelle  with  Story  of  Finding  of  True 
Cross. 

S.  Giovanni  e  Paolo,  Coronation  of  the  Virgin. 
S.  Maria  dell'  Orto,  St.  John  between  SS. 

Paul,  Jerome,  Mark,  and  Peter. 
Lady  Layard,  Madonna  with  SS.  Francis  and 

Paul.    Madonna  with  SS.  Nicholas  of  Bari 

and  John  the  Baptist. 
Vicenza.      Sala  IV,   18.  Madonna  with  SS.  Jerome  and 

John,  1489. 

Vienna.       156,  Madonna  with  SS.  Jerome  and  Louis. 


THE  VENETIAN  PAINTERS  99 


CARLO  CRIVELLI. 

B.  1430-40  ;  d.  after  1493.    Pupil  of  the  first  Vivarini,  in- 
fluenced by  the  Paduans. 

Ancona.       1.  Madonna.  E. 

Ascoli.         Uuomo,  Altar-piece,  with  Pieta,  1473. 

Bergamo.     Lochis,  129.  Madonna. 

Berlin.         n  56.  The  Magdalen. 

H56A.  Madonna,  St.  Peter  and  six  other  Saints. 
Brussels.  Madonna. 
Buda-Pesth.  Madonna. 
Florence.     Panciatichi,  ioi.  Pieta,  1485. 
Frankfort.  33,  34.  Annunciation. 
London.      602.  Pieta. 

668.  The  Blessed  Ferretti  in  Ecstasy. 

724.  Madonna  Avith  SS.  Sebastian  and  Jerome. 

739.  Annunciation,  i486. 

788.  Altar-piece  in  thirteen  compartments,  1476. 
809.  Madonna  with  SS.  Sebastian  and  Francis, 
1491. 

906.  Madonna  in  Ecstasy,  1492. 

907.  SS.  Catherine  and  Magdalen. 

Lady  Ashburton,  St.  Dominic.    St.  George. 
Mr.  Benson,  Madonna,  1472. 
Mr.  Mond,  SS.  Peter  and  Paul. 
Lord  Northbrook,  Madonna.   E.  Resurrec- 
tion.   E.    SS.  Bernardino  and  Clare. 
South  Kensington,  Jones  Collection,  665. 
Madonna. 
Macerata.    36.  Madonna,  1470. 
Massa 

Fermana.  Municipio,  Altar-piece,  1468. 
Milan.  BrerA,  189.  Crucifixion. 

193.  Madonna.  L. 
283.  Madonna  and  Saints,  1482. 
294.  SS.  James,  Bernardino,  and  Pellegrino. 


IOO 


WORKS  OF 


Milan  (Con.).    295.  SS.  Antony  Abbot,  Jerome,  and  Andrew. 

Galleria  Oggiono,  Coronation  of  Virgin,  with 
John,  Catherine,  Francis,  Augustine,  and 
other  Saints.    Above,  a  Pieta,  1493. 
Museo  Civico,  Collection  dell'  Acqua,  St. 

John.    St.  Bartholomew. 
Poldi-Pezzolt,  Sala  Dorata,  20.  St.  Francis 
adoring  Christ, 
Pinacoteca,  78.  St.  Sebastian. 
Paris.  1268.  St.  Bernardino,  1477. 

Pausula.      S.  Agostino,  Madonna. 
Richmond.  Sir  F.  Cook,  Madonna.  E. 
Rome.         Lateran,  Madonna,  1482. 

Vatican,  Pieta. 
Strasburg.  Adoration  of  Shepherds. 

Venice.       Academy,  Sale  Palladiane,  II.  SS.  Jerome 
and  Augustine. 


GIORGIONE. 

1478-1510.     Pupil  of  Giovanni  Bellini,  influenced  by  Car- 
paccio. 


Berlin. 


I2A.  Portrait  of  Man.  E. 


Buda-Pesth.  Portrait  of  Man. 

Castelfranco.  Duomo,  Madonna  with  SS.  Francis  and  Lib- 
erate. E. 
185.  Sleeping  Venus. 
Uffizi,  621.  Trial  of  Moses.  E. 
622.  Knight  of  Malta. 
630.  Judgment  of  Solomon.  E. 
Hampton  Court.    101.  Shepherd  with  Pipe. 
Madrid.       Madonna  with  SS.  Roch  and  Antony  of  Padua. 
113b.  Fete  Champetre. 
Villa  Borghese,  143.  Portrait  of  a  Lady. 
Seminario,  Apollo  and  Daphne. 
Giovanelli,  Gipsy  and  Soldier. 
S.  Rocco,  Christ  bearing  Cross. 


Dresden. 
Florence. 


Paris. 
Rome. 
Venice. 


THE   VENETIAN  PAINTERS 


[01 


Vicenza. 
Vienna. 


Amiens. 

Bassano. 

Bergamo. 


Berlin. 

Cambridge. 
London. 


Milan. 


Oxford. 
Padua. 
Paris. 


Casa  LOSCHI,  Christ  bearing  Cross.  E. 

239.  Evander  showing  /Eneas  the  Site  of  Rome. 

GUARDI. 
1 712-1793.    Pupil  of  Canaletto. 
216,  217,  219.  Views. 
Sala  del  Cavallo,  85.  The  Piazza. 
Lochis,  89-93, 106-108.  Landscapes  and  Views. 
Baglioni,  Two  Venetian  Views. 
Conte  Moroni,  Villa  by  the  Sea. 
501A  Grand  Canal.    501°.  Lagoon.    501° &D. 

Cemetery  Island. 
Fitzwilliam  Museum,  Four  small  Views. 

210,  1054.  Views  in  Venice. 

South  Kensington,  Owen  Jones  Collection, 

104.  View  near  Venice. 
Lady  Ashburton,  Venice  from  St.  Giorgio 

Maggiore. 

Mr.  Doetsch,  Ruin  by  Shore,  Dilapidated 
Church. 

Sir  Wm.  Farrer,  View  near  Venice. 

Mr.  Mond,  Pius  VI.  holding  a  Reception. 

Dr.  Richter,  Cannareggio. 

Mr.  Salting,  The  Rialto,  View  near  Venice. 

Gothic  Ruins.    Classic  Ruins. 
Museo  Civico,  69,  71-74.  Landscapes. 
Poldi-Pezzoli,     87.  Piazetta.      89.  Dogana. 

116,    117.  Tiny  Landscapes. 
Taylorian  Museum,  65,  66.  Views  in  Venice. 
300,  381.  Views  in  Venice.   802.  Hunting  Scene. 

211.  Procession  of  Doge  to  S.  Zaccaria. 

1328.  Embarkment  in  Bucentaur.  1329.  Fes- 
tival at  Salute. 

1330-  "Jeudi  Gras  a  Venise."  1331.  Corpus 
Christi. 

1 333.  Sala  di  Collegio.  1334.  Coronation  of  Doge. 


102 


WORKS  OF 


781.  Staircase.    782.  Bridge 


Richmond.  Sir  F.  Cooke,  The  Piazza. 
Rouen.        235.  A  Villa. 
Strasburg.   18.  The  Rialto. 
Turin.         290  bis.  Cottage. 

over  Canal. 

Venice.        Museo  Correr,  Sala  X,  25.    The  Ridotto, 

26.  Parlour  of  Convent  of  S.  Zaccaria. 
Verona.       223,  225.  Landscapes. 

The  above  list  represents  but  a  part  of  Guardi's  known 
works,  but  the  others  are  changing  hands  so  rapidly  that  it 
is  useless  to  name  their  present  owners. 


BERNARDINO  LICINIO. 

Active  1 520-1 544.    Pupil  of  Pordenone,  influenced  by  Gior- 
gione,  Palma,  and  Bonifazio. 

Bergamo.    Lochis,  197.  Portrait  of  a  Lady. 

PlCClNELLl,  Madonna  and  Saints. 
Brescia.      Martinengo,  Sala  C,  16.  Portrait  of  a  Young 
Man,  1520. 

Duomo  Vecchio,  Christ  bearing  Cross.  Ado- 
ration of  Shepherds. 

Buda-Pesth.  Two  Portraits  of  Ladies. 

Dresden.     200.  Portrait  of  a  Lady,  1533. 

Florence.  Uffizi,  574.  Madonna  with  St.  Francis.  587. 
Portrait  of  Man. 

Genoa.  Brignoli-Sale,  Sala  VII,  Portrait  of  Francesco 
Philetus. 

Hampton  Court.    71.  Lady  playing   on  Virginals.  104. 

Family  Group,  1524. 
London.      Portrait  of  a  Young  Man. 

Lady  Ashburton,  Young  Man  with  his  Hand  £  ^ 

on  a  Skull. 
Mr.  Butler,  Portrait  of  Lady,  1522. 
Mr.  Doetsch,  Barbara  Kressin,  1544. 
Lucca.         SALA  I,  68.  Santa  Conversazione. 


THE  VENETIAN  PAINTERS  103 


Milan. 


Modena. 

Padua. 

Rome. 

Rovigo. 

Venice. 


Vienna. 


Museo  Civico,  88.  Portrait  of  Lady. 
Archbishop's  Palace,  Holy  Family. 
Crespi,  Portrait  of  a  Lady. 

CASA  Scotti,  Holy  Family  with  two  Shepherds. 

Madonna,  three  Saints,  male  and  female 

Donors. 
123.  Portrait  of  a  Lady. 

Sala  Romanino,  814.  Portrait  of  Young  Man. 
Villa  Borghese,  115.  Family  Group.  171. 

Santa  Conversazione. 
4.  St.   Margaret  between  SS.   Catherine  and 

Lucy.    8.  Portrait  of  a  Scholar. 
Sale  Palladiane,  40.    Portrait  of  Woman. 
Loggie  Palladiane,  81.  Group  of  Putti. 
Sala  II,  95.  Portrait  of  Young  Woman. 
Frari,  Madonna  enthroned  with  Saints. 

The  Predella  contains  five  Friars. 
263.  Portrait  of  Ottaviano  Grimani,  1541 


PIETRO  LONGHI. 

1 702-1762.    Follower  of  the  Bolognese  painter,  Crespi. 

Bergamo.    Lochis,    60.  Gambling    Scene.      61.  Coffee 
Scene. 

Morelli,  94.  Portrait  of  Girl. 

Baglioni,  Country  Party. 
Dresden.      595.  Portrait  of  Lady. 
Florence.     Mr.  Loeser,  Milliner  Scene. 
Hampton  Court.    549,551-    Genre  pictures,  1744. 
London.       1100,  1101.     Genre  pictures.      1102.  Andrea 
Tron. 

Mr.  Mond,  Card  Party.    Portrait  of  a  Lady. 
Dr.  Richter,  Card  Party.    Lady  at  Toilet. 
Venice.       Academy,  Sala  III,  42,  43,  44,  54,  55,  56. 
Genre  pictures. 


104 


WORKS  OF 


Venice  {Con.).    Museo  Correr,  Sala  X,  25,  26,  31-40. 

Scenes  of  Venetian  Life.  41.  Boys  on 
Horseback.    Portrait  of  Goldoni. 

Pallazzo  Grassi,  Staircase,  Frescoes  :  Seven 
Scenes  of  Fashionable  Life. 

Quirini-Stampalia,  Sala  X,  220.  Portrait  of 
Dainele  Dolfino. 
Sala  XIII,  11-17.  The  Seven  Sacraments. 
18.  Temptation  of  St.  Anthony.  19.  Gam- 
bling Scene.  20.  A  Circus.  21.  Monks 
and  Canons.  22.  Study  of  Geography. 
26,  299.    Portraits  of  Ladies. 


LORENZO  LOTTO. 

1480-1556.    Pupil  of  Alvise  Vivarini,  influenced  by  Giovanni 
Bellini  and  Giorgione. 

Alzano  Maggiore  (near  Bergamo).  Duomo,  Assassination 

of  St.  Peter  Martyr. 
Ancona.       13.  Assumption  of  Virgin,  1550.  37.  Madonna 

with  four  Saints.  L. 
Asolo,  Madonna  in  Glory  with  two  Saints.  1506. 

Bergamo.    Carrara,  Three  Predelle  belonging  to  S.  Bar- 

tolommeo  Altar-piece. 
66.  Marriage  of  S.  Catherine,  with  portrait  of 

N.  Bonghi,  1523. 
Portrait  of  a  Lady. 

Lochis,  32,  33,  34.  Sketches  for  Predelle,  con- 
taining the  story  of  S.  Stephen.  185.  Holy 
Family  and  S.  Catherine,  1533. 

S.  Alessandro  in  Colonna,  Pieta. 

S.  Alessandro  in  Croce,  Trinity. 

S.  Bartolommeo,  Altar-piece,  1516. 

S.  Bernardino,  Altar-piece,  1521. 

S.  Maria  Maggiore,  Intarsias,  1524-1530. 

S.  Michele,  Frescoes  in  Chapel  L.  of  Choir. 


THE  VENETIAN  PAINTERS  10$ 

Bergamo  {Con.).    S.  Spirito,  Altar-piece,  1521. 

Piccinelli,  Madonna  with  SS.  Sebastian  and 
Roch.  Angel  with  Globe  and  Sceptre, 
(originally  top  of  S.  Bartolommeo  Altar- 
piece.) 

Berlin.         153.  Portrait  of  an  Architect. 

182,  320.  Portraits  of  Young  Men. 

323.  SS.  Sebastian  and  Christopher,  1531. 

325.  Christ  taking  leave  of  his  Mother,  1522. 
Brescia.      Tosio,  Sala  XIII,  34.  Nativity. 
Celana  (near  Bergamo).    Church,  Assumption  of  Virgin, 
1527. 

Cingoli  (Province  of  Macerata).  S.  Domenico,  Madonna 
with  six  Saints,  and  fifteen  small  scenes  from  the 
Lives  of  Christ  and  the  Virgin,  1539. 

Costa  di  Mezzate  (near  Bergamo).  Marriage  of  St. 
Catherine,  1522. 

Dresden.      295.  Madonna,  1518. 

Florence.  Uffizi,  575.  Holy  Family  with  St.  Jerome,  1534. 
Hampton  Court.   114.  Portrait  of  Young  Man.  E. 

148.  Portrait  of  Andrea  Odoni,  1527. 
Jesi.1  Municipio,  Three  Predelle  containing  Story  of 

St.  Lucy. 

Library,  Pieta,  1512. 

Annunciation. 

St.  Lucy  before  the  Judge. 

Madonna  and  Saints,  (lunette)  Francis  receiving 

Stigmata  1526. 
Visitation,  (lunette)  Annunciation,  1530. 
London.       699.   Portraits  of  Agostino  and  Niccolo  della 

Torre,  1515. 
1047.  Family  Group. 
1 105.  Portrait  of  Prothonotary  Giuliano. 
Bridgewater  House,  Madonna  and  Saints.  E. 


1  All  the  Lottos  at  Jesi  are  presently  to  be  transported  to 
the  Palazzo  della  Signoria. 


io6 


WORKS  OF 


London  (Con.).    Dorchester  House,  Portrait  of  a  Lady. 

Mrs.  Martin  Colnaghi,  Madonna  with  SS. 

Jerome  and  Antony  of  Padua,  1522. 
Prof.  Conway,  Danae.  E. 
Loreto.       Palazzo   Apostolico,  30.   SS.  Christopher, 
Sebastian,  and  Roch. 
34.  Christ  and  Adulteress. 
42.  Nativity. 

25,  27.  SS.  Lucy  and  Thecla.    24,  28.  Two 
Prophets.  L. 

31.  Michael  driving  Lucifer  from  Heaven.  L. 

32.  Presentation  in  Temple.  L.  21.  Baptism. 
L. 

20.  Adoration  of  Magi.    L.    50.  Sacrifice  of 
Melchisedec.  L. 
Madrid.       287.  Bridal  Couple,  1523.    478.  St.  Jerome. 
Milan.         Brera.     244.  Pieta,  1545.    253.  Portrait  of 
Lady.    254.  Portrait  of  Old  Man.  255. 
Portrait  of  Man.    All  L. 
Gal.  Oggioni,  16.  Assumption  of  Virgin.  E. 
Poldi-Pezzoli,  Pinacoteca,  86.  Holy  Family. 
Museo  Civico,  83.  Portrait  of  Young  Man. 
Borromeo,  Christ  on  Cross  with  Symbols  of 

the  Passion. 
Dr.  Frizzoni,  St.  Catherine. 
Monte  S.  Giusto  (near  Macerata).  Church,  Crucifixion,  1531. 
Munich.       1083.  Marriage  of  St.  Catherine.  E. 
Nancy.        Head  of  a  Man.  L. 

Naples.       Sala  Veneta,  56.    Madonna  with  St.  Peter 

Martyr.  E. 
Paris.  1349-  Christ  and  Adulteress. 

1350.  St.  Jerome,  1500.    1351.  Nativity. 
Ponteranica  (near  Bergamo).    Church,  Altar-piece  in  six 
panels. 

Recanati.    Municipio,  Altar-piece  in  six  parts,  1508. 
Transfiguration.  E. 


THE  VENETIAN  PAINTERS  107 


Trescorre. 
Treviso. 


Recanati  (Con.).  S.  Domenico,  Fresco  :  S.  Vincent  in  Glory. 

S.  Maria  sopra  Mercanti,  Annunciation. 
Rome.         Villa  Borghese,  193,  Madonna  with  S.  Onofrio 
and  a  Bishop,  1508. 
185.  Portrait  of  Man. 
Capitol,  Sala  II,  74.  Portrait  of  Man. 
Dorta,  Portrait  of  Man.    St.  Jerome. 
Rospigliosi,  Allegory. 
Sedrina  (near  Bergamo).    Church,  Madonna  in  Glory  and 
four  Saints,  1542. 
Suardi  Chapel,  Frescoes,  1524. 
Sala  Sernagiotto,  20.  Portrait  of  Monk,  1526. 
S.  Cristina,  Altar-piece,  (lunette)  Dead  Christ. 
E. 

Venice.        Carmine,  S.  Nicholas  in  Glory,  1529. 

S.  GlACOMO  DALL'  Orio,  Madonna  and  Saints, 
1546. 

S.  Giovanni  e  Paolo,  S.  Antonino  bestowing 
Alms,  1542. 
Vienna.        273.  Santa  Conversazione. 

274.  Portrait  of  Man. 

BARTOLOMMEO  MONTAGNA. 

1450  circa-1523.    Pupil  of  Alvise  Vivarini  ;   influenced  by 

Gentile  Bellini  and  the  Paduan  sculptor,  Bellano. 
Belluno.      34.  Madonna.  E. 

Bergamo.     Lochis,  128.  Madonna  with  SS.    Roch  and 
Sebastian,  1487. 
Morelli,  44.  St.  Jerome. 
Frizzoni-Salis,  Madonna. 
Berlin.        44.  Madonna,  Saints,  and  Donors,  1500. 
Certosa  (near  Pavia).    Madonna,  SS.  John,  Onofrio,  and 

three  Angels. 
London.       Sir  Wm.  Farrer,  Madonna.  E. 

Mr.  Ludwig  Mond,  Madonna  with  St.  Roch. 
E. 


WORKS  OF 

Brera,  167.  Madonna,  four  Saints,  and  three 

Angels,  1499. 
Poldi-Pezzoli,  St.  Jerome.    St.  Paul.  Two 

Tondi  (on  a  cassone.) 
Dr.  Gust.  Frizzoni,  St.  Jerome. 
Bishop's  Palace,  Hall,  Frieze  with  Busts  of 

Paduan  Bishops. 
S.   Maria    in    Vanzo,   Madonna  and  four 
Saints. 

Scuola  del  Santo,  Fresco  6.  Opening  of  St. 
Anthony's  Tomb. 
Panshanger.  Lord  Cowper,  Madonna. 
Paris.  1393.  Ecce  Homo.    1394.  Three  Angels. 

Praglia  (near  Padua).  Refectory,  fresco  :  Crucifixion.  ' 
Strasburg.  6.  Holy  Family. 

Venice.       Academy,  Sale  Palladiane,  13.  Madonna,  SS. 

Sebastian  and  Jerome.     Sala  IX,  38. 

Christ  between  SS.  Roch  and  Sebastian. 
Lady  Layard,  John  the  Baptist  between  two 

other  Saints. 
Verona.       76.  Two  Saints. 

S.  Nazzaro  e  Celso,  SS.  Nazzaro  and  Celso. 

SS.  John  and  Benedict.    Pieta.    SS.  Blaise 

and   Giuliana.    Frescoes :  Legend  of  St. 

Blaise.    All  1491-1493. 
Vicenza.     SalaV,  i.  Holy  Family. 

2.  Madonna    enthroned,    four    Saints,  three 

Angels.  E. 

3.  Madonna  with  SS.  Monica  and  Mary  Mag- 

dalen. 

5.  Madonna.  L. 

6.  Madonna.  L. 

8.  Presentation  in  Temple. 

9.  S.  Agnes. 

17.  Madonna  with  SS.  John  the  Baptist  and 
Onofrio. 


108 
Milan. 

Padua. 


THE  VENETIAN  PAINTERS  IO9 


Vicenza  (Con.).    19.  Madonna.  L. 

Duomo,  Fresco  :  Nativity.  Altar-piece,  Ma- 
donna with  SS.  Catherine  and  Margaret. 
Frescoes  :  SS.  Margaret  and  Catherine. 

S.  Corona,  Magdalen  between  four  other  Siants. 

S.  Lorenzo,  Fresco  in  Chapel  L.  of  Choir. 

Monte  Berico,  Pieta,  1500.    Fresco  :  Pieta. 

PALMA  VECCHIO. 

1480  circa  -1528.    Pupil  of  Giov.  Bellini  ;  influenced  by 
Giorgione. 

Bergamo.     Lochis,  183.  Madonna  and  two  Saints.  L. 
Berlin.         197A.  Head  of  Young  Woman.  E. 

197B.  Bust  of  Woman. 

174.  Portrait  of  Man. 
Brunswick.  Adam  and  Eve.  E. 

Cambridge.  Fitz  William  Museum,  Venus.    L,  (in  part). 
Dresden.      188.  Madonna  with  John  the  Baptist  and  St. 
Catherine. 

189.  Three  Sisters. 

190.  Venus. 

191.  Holy  Family  with  S.  Catherine. 

192.  Meeting  of  Jacob  and  Rachel.  L. 
Florence.     Uffizi,  619.  Judith.  L. 

Genoa.         Brignole-Sale,  Madonna  with  Magdalen  and 
John.  L. 

Hampton  Court.    115.  Santa  Conversazione. 
240.  Head  of  Woman.  L. 
•  London.      636.  Portrait  of  Man. 

Mr.  Benson,  Santa  Conversazione  and  Donor, 

finished  by  Cariani. 
Mr.  Mond,  Bust  of  Woman.  L. 
Milan.  Brera,  290.  SS.  Helen,  Constantine,  Roch,  and 

Sebastian.  172.  Adoration  of  Magi,  L.,  fin- 
ished by  Cariani. 


no 


WORKS  OF 


Munich. 
Naples. 

Paris. 

Peghera. 

Rome. 


Serina. 
Venice. 


Vicenza. 
Vienna. 


1108.  Madonna,  SS.  Roch  and  Mary  Magdalen. 
Sala  Grande,  28.  Santa  Conversazione,  with 

male  and  female  Donors. 
1399.  Adoration  of  Shepherds  and  female  Donor. 
Church,  Polyptych. 

Villa  Borghese,   106.    Lucrece.    L.  163. 

Madonna,  Francis,  Jerome,  and  Donor. 
Capitol,  Christ  and  Adulteress. 
Colonna,  Madonna,  St.  Peter,  and  Donor. 
Church,  Polyptych. 

Academy,  Sala  II,  1.  Christ  and  Adulteress. 
Sala  IX,  8.  St.  Peter  enthroned  and  six  other 
Saints.    33.  Assumption  of  Virgin.  L. 
Quirini-Stampalia,  Sala  IV,  Unfinished  Por- 
trait of  Young  Woman.  L. 
Sala  XVII,  Portrait  of  Man. 
Giovanelli,  Sposalizio.  L. 
S.  Maria  Formosa,  St.  Barbara  Altar-piece. 
Sir  Henry  Layard,  Knight  and  Lady  (a  frag- 
ment.) 

S.  Stefano,  Madonna  and  Saints. 

316.  John  the  Baptist. 

317.  The  Visitation,  finished  by  Cariani. 

318.  Santa  Conversazione. 

322.  Portrait  of  Lady.  L. 

323.  Violante.  L. 

324.  325,  326,  327.  Busts  of  Women. 
329.  Portrait  of  Old  Man. 
Lichtenstein,  Two  Madonnas. 


SEBASTIANO  DEL  PIOMBO. 

1485  circa  -1547.    Pupil  of  Giov.  Bellini,  Cima,  and  Giorgi- 
one  ;  later,  influenced  by  Michelangelo. 

Berlin.         237.  Pieta.    L.    25913.  "  Dorothea." 
Florence.     Uffizi,  1123.  "  Fornarina,"  15 12.    592.  Death 
of  Adonis. 


THE  VENETIAN  PAINTERS  III 


Florence  {Con.).    Pitti,   179.  Martyrdom  of  St.  Agatha, 

1520.    409.  Portrait  of  Man.  L. 
London.       1.  Resurrection  of  Lazarus,  1519.    24.  Portrait 
of  Lady.    L.    Holy  Family  and  Donor. 
Mr.  Benson,  Portrait  of  Man.  L. 
Duke  of  Grafton,  Carondelet  and  his  Secretaries. 
Mr.  Ludwig  Mond,  Portrait  of  Pietro  Aretino. 
Motta  di  Livenza.   Scarpa  Gallery,  Portrait  of  Raphael. 
Naples.       Sala  Grande,  56.  Portrait  of  Ecclesiastic.  L. 

Sala  Veneta,  15.  Head  of  Clement  VII.  L. 
Sala  dei  Correggio,  2.  Holy  Family.  L. 
Paris.  1352.  Visitation,  1521.  1500.  St.  John  in  Desert. 

Parma.        302.  Clement  VII.  and  a  Chamberlain. 
St.  Petersburg.    Portrait  of  Cardinal  Pole.  L. 
Rome.  DoriA,  Portrait  of  Andrea  Doria.  L. 

Farnesina,  Sala  di  Galatea,  Frescoes  in  8 

lunettes,  1511. 
S.  Maria  del  Popolo,  Birth  of  Virgin.  L. 
(in  part.) 

S.  Pietro  in  Montorio,  Frescoes  first  Chapel 
Right. 

Treviso.      S.  Niccol6,  Incredulity  of  Thomas.  E. 
Venice.        Academy,  Sala  IX.  Visitation.  E. 
Lady  Layard,  Pieta.  E. 
S.  Bartolommeo  in  Rialto,  SS.  Bartholomew, 
Louis,  Sinibald,  and  Sebastian,  on  separate 
panels.  E. 

S.  Giovanni  Crisostomo,  St.  John  Chrysostom 
enthroned,  and  other  Saints.  E. 
Vienna.        352.  Portrait  of  (?)  Cardinal  Giulio  di  Medici. 
Viterbo.      Pieta.  L. 

G.  A.  PORDENONE. 

1483-1540.    Developed  under  the  influence  of  Giorgione  and 
Titian. 

Casarsa.  Oi.dChurch,  Frescoes:  Story  of  True  Cross,  1525. 
Colalto  (near  Susigana).    S.  Salvatore,  Frescoes.  I\ 


112 


WORKS  OF 


Cremona.     Duomo,  Frescoes  :  Christ  before  Pilate  :  Way 
to  Golgotha.    Nailing  to  Cross. 
Crucifixion.    All  1521. 

Altar-piece  :  Madonna  enthroned  with  S.  Dom- 
inic, Paul,  and  Donor,  1522. 
Fresco:  Deposition,  1522. 
London.      Dorchester  House,  Salome.  L. 
Motta  di  Livenza.   S.  Maria  dei  Miracoli,  Frescoes : 
Annunciation. 

Murano.      S.  Maria  degli  Angeli,  Annunciation.  L. 
Naples.       Sala  Grande,  57.  Dispute  about  the  Sacra- 
ment. (?) 

Piacenza.    Madonna  di  Campagna,  Frescoes :  Birth  of 
Virgin  ;  Adoration  of  Magi  ;  Disputation 
of  St.  Catherine. 
Altar-piece  :   Marriage  of  St.  Catherine.  All 
1529-1531. 

Pordenone.  Duomo,  Madonna  covering  with  mantle  six 
Donors,  SS.  Joseph  and  Christopher  to  R. 
and  L.  1515.  Fresco  :  SS.  Erasmus  and 
Roch,  1525.  St.  Mark  enthroned,  SS.  Se- 
bastian, Jerome,  John,  and  Alexander,  1535. 
Municipio,  St.  Gothard  between  SS.  Roch  and 
Sebastian,  1525. 

San  Daniele  (near  Udine).    Duomo,  Trinity,  1535. 

Spilimbergo.  Duomo,  Assumption  of  Virgin.  Conversion 
of  St.  Paul.    Simon  Magus,  1524. 

Susigana.    Church,  Madonna  and  four  Saints.  E. 

Torre  (near  Pordenone).  Church,  Madonna  and  four  Saints. 


Treviso. 


Venice. 


Duomo,  Adoration  of  Magi,  and  other  frescoes, 
1520. 

Academy,  Sala  II,  72.  Portrait  of  Lady.  73. 
Head  of  Man  Praying. 

Sala  VII,  22.  Madonna  of  Carmel,  Saints,  and 
the  Ottobon  Family.  25.  St.  Lorenzo 
Giustiniani  and  three  other  Saints. 


THE  VENETIAN  PAINTERS  1 1 3 


Venice  (Con.).    S.  Giovanni  Elimosinario,  SS.  Roch, 
Sebastian,  and  Catherine. 
S.  Rocco,  SS.  Martin  and  Christopher,  1528. 
S.  Stefano,  Ruined  Frescoes  in  Cloister. 


ANDREA  PREVITALI. 


Active  1502-1525. 
Lotto. 


Pupil  of  Giovanni  Bellini  ;  influenced  by 


Bergamo.    Carrara,  25.  Pentecost. 

68.  Marriage  of  St.  Catherine. 
97.  Altar-piece  in  8  parts. 

182.  Madonna,  1514. 

183.  Madonna,  two  Saints,  and  Portraits  of 
Cassoti  and  his  Wife. 

184.  Madonna. 

Lochis,  171.  Madonna.  E. 
176.  Madonna  with  SS.  Dominic  and  Sebastian, 
1506. 

Baglioni,  Madonna  and  two  Saints. 

Conte  Moroni,  Madonna,  Saint,  and  Donor. 

Family  Group. 
S.  Alessandro  in  Croce,  Crucifixion,  1524. 
S.  Andrea,  Entombment. 

Duomo,  Altar-piece,  and    three    Predelle  in 
Sacristy,  1524. 
s    S.  Maria  Maggiore,  Fresco  over  S.  Door. 
S.  Spirito,  St.  John  the  Baptist  and  four  other 
Saints,    1515.     Madonna    between  four 
female  Saints,  1525. 
Berlin.         39.  Madonna  and  four  Saints. 

45.  Marriage  of  St.  Catherine. 
Ceneda.      S.  Maria  di  Meschio,  Annunciation.  E. 
Dresden.     60.  Madonna  and  Saints,  1510. 
London.      695.  Madonna  and  Donor.  E. 


U4 


WORKS  OF 


Milan.  Brera,  304.  Christ  in  Garden,  1512. 

Bonomi-Cereda,  Madonna   and    two  Saints, 
1522. 

Dr.  Gust.  Frizzoni,  Madonna  and  Donor, 
1506. 

Oxford.       Christ  Church  Library,  Madonna. 
Padua.        Cavalli,  1423.  Madonna  and  Donor,  1502. 
Venice.        Palazzo  Ducale,  Chapel,  Christ  in  Limbo. 
Crossing  of  Red  Sea. 

Lady  Layard,  Head  of  Christ. 

S.  Giobbe,  Marriage  of  St.  Catherine. 

Redentore,  Nativity.  Crucifixion. 
Verona.        151.  Stoning  of  Stephen. 

173.  Immaculate  Conception. 
Vienna.       246.  Madonna.  E. 


N.  RONDINELLI. 


Active  about  1480-1500.    Pupil  of  Giovanni  Bellini,  whose 
name  he  often  signs,  slightly  influenced  by  Palmezzano. 


Berlin. 
Fermo. 
Florence. 

Forli. 

Milan. 


Padua. 
Paris. 

Ravenna. 


11.  Madonna. 

Carmine,  Madonna  and  Saints. 

Uffizi,  354.  Portrait  of  Man.    384.  Madonna 

and  two  Saints. 
90.  Madonna. 
Duomo,  St.  Sebastian. 

Brera,  176.  Madonna,  four  Saints,  and  three 
Angels.  177.  St.  John  appearing  to  Galla 
Placida. 

Museo  Civico,  97.  Madonna,  SS.  Francis  and 
Peter. 

SALA  Emo,  Portrait  of  Young  Man. 
1 1 58.  Madonna  between  SS.  Peter  and  Sebas- 
tian. 

13.  Madonna  and  four  Saints.  Madonna  be- 
tween SS.  Catherine  and  John. 


THE   VENETIAN  PAINTERS  1 1  5 


Rome. 


Stuttgart. 
Venice. 


Ravenna  (Con.).  S.  Domenico,  four  large  pictures,  probably 
Organ  Shutters.     Madonna,  Gabriel,  St. 
Peter  Martyr,  S.  Dominic. 
Barberini,  Two  Madonnas. 
Capitol,  Portrait  of  Man. 
Doria.    Two  Madonnas. 
22.  Madonna. 

Museo  Correr,  SalA  VII,  19.  Madonna.  Sala 
IX,  19.  Madonna,  two  Saints,  and  two  Donors. 
Giovanelli,  Two  Madonnas. 
Lady  Layard,  Madonna. 
S.  Fantino,  Holy  Family. 

GLROLAMO  SAVOLDO. 

Circa  1480-1548.     Possibly  pupil  of  Francesco  Bonsignori  ; 

influenced  by  Bellini,  Giorgione,  Palma,  and  Lotto. 
Berlin.         307.  Mourning  over  Dead  Christ. 
307A.  Magdalen. 

Martinengo,  Sala  C,  Adoration  of  Shepherds. 
Casa  Bernetti,  St.  Jerome  in  Landscape.  E. 
Uffizi,  645.  Transfiguration. 
Mr.  Loeser,  St.  Jerome. 
Hampton  Court.   138.    "  Gaston  de  Foix."    139.  Nativity 
and  Donors,  1527. 
1031.  Magdalen. 
Mr.  Doetsch,  Bust  of  Man. 
Mr.  Mond,  Portrait  of  Man. 
Brera,  234.  Madonna  in  Glory  and  four  Saints. 
Ambrosiana,  52.  Transfiguration. 
Lotzbeck  Collection,  98.  Rest  in  Flight. 
1518.  "  Gaston  de  Foix." 
Villa  Borghese,  138.  Head  of  Youth. 
Capitol,  Portrait  of  Woman  seated. 
Seven  Oaks.  Lord  Amherst,  Flute-player. 
Treviso.      San  Niccolo,  Altar-piece,  1521. 
Turin.  118.  Nativity.    119.  Adoration  of  Shepherds. 

Urbino.       Casa  Albani,  Rest  in  Flight. 


Brescia. 

Fermo. 

Florence 


London. 


Milan. 

Munich 

Paris. 

Rome. 


n6 


WORKS  OF 


Venice.       Sale  Palladiane,  60.     The  Hermits  Antony 
and  Paul. 
S.  Giobbe,  Adoration  of  Shepherds. 
Lady  Layard,  St.  Jerome. 
Verona.       Santa  Maria  in  Organo,  Madonna  in  Glory 

and  Saints,  1533. 
Vienna.        103.  An  Apostle.    551.  Entombment. 

Lichtenstein,  Portrait  of  Young  Warrior. 

G.  B.  TIEPOLO. 
1 696-1 770.    Influenced  by  G.  B.  Piazzetta,  formed  on  Paolo 
Veronese. 

Amiens.      233,  234,  235,  236.  Sketches. 
Bergamo.     Carrara,  281,  282.  Sketches. 

Locms,  74.  Sketch. 

Baglioni,  Two  legendary  subjects. 

Piccinelli,  Christ  in  the  Garden.  Legendary 
subject. 

DUOMO,  Martyrdom  of  St.  John  the  Bishop. 
Colleoni  Chapkl,  Lunettes :    Story  of  the 
Baptist. 

Berlin.         454.  After  the  Bath.   459.  Reception.  45gA-  St. 

Dominic  and  the  Rosary.  459B-  Martyr- 
dom of  St.  Agatha. 

London.       1192,  1193.  Sketches.    1333.  Deposition. 

Dr.  Richter,  Two  Versions  of  Christ  and 
Adulteress.    Two  legendary  subjects. 

Milan.         Palazzo  Chierici,  Chariot  of  the  Sun,  ceiling 
fresco. 

Poldi-Pezzoli,   Pinacoteca,  74.  A  Sketch. 
90.  Madonna  and  Saints. 
Munich.       1271.   Adoration  of  Magi.    1272,  1273.  His- 
torical subjects. 
Padua.        Sala  Romanino,  654.  St.  Patrick. 

Santo,  Martyrdom  of  St.  Agatha. 


THE  VENETIAN  PAINTERS 


117 


Paris.  !547-  Christ  at  Emaus.    1549.  Standard  painted 

on  both  sides. 
Parma.        216.  St.  Antony  Abbot. 

Piove  (near  Padua).    S.    Niccolo,    Franciscan    Saint  in 
Ecstasy. 

Turin.  286  bis.  Triumph  of  Aurelian.  293.  St.  Antony 

Abbot. 

Udine.         31.  Chapter  of  Maltese  Order. 

S.  Maria  della  Pieta,  Ceiling. 
Venice.        Sala  II,  7.    S.  Joseph,  the  Child,  and  four 
Saints. 

Palazzo  Ducale,  Sala  di  Quattro  Porte. 

Neptune  and  Venice. 
Seminario,  Refectory,  Christ  at  Emaus. 
Quirini-Stampalia,  Sala  X,  219.  Portrait  of 

Procurator. 

Palazzo  Labia,  Frescoes  :    Antony  and  Cleo- 
patra. 

Palazzo  Rezzonico,  Two  Ceilings. 

S.  Alvise,  Christ  at  Column.  Way  to  Golgotha. 

S.  Apostoli,  Communion  of  S.  Lucy. 

S.  Fava,  The  Virgin  and  her  Parents. 

Gesuati,  Ceiling.    Altar-piece  :  Madonna  and 

three  female  Saints. 
S.  Giovanni  e  Paolo,  Ceiling  of  R.  Chapel. 
S.  Maria  della  PietA,  Ceiling. 
S.  Paolo,  Stations  of  the  Cross. 
Scalzi,  Ceiling. 

Scuola  del  Carmine,  Ceiling  paintings. 
Verona.       70.  Four  Olivetan  Saints. 
Vicenza.      Entrance  Hall,  i.  Immaculate  Conception. 

Villa  Valmarana,    Frescoes  in   Villa  and 
Casino,  subjects  from  Homer,  Virgil,  Ari- 
osto,  and  Tasso,  also  Costume  Pieces,  and 
Oriental  Scenes. 
Vienna.       Academy,  484.  Sketch. 


n8 


WORKS  OP 


JACOPO  TINTORETTO. 

1518-1592.    May  have  been  a  pupil  of  Bonifazio  Veronese; 
influenced  by  Titian,  Parmigianino,  and  Michelangelo. 


Augsburg 
Bergamo. 
Berlin. 


Bologna. 
Brescia. 

Dresden. 

Escurial. 
Florence. 


Hampton 


London. 


,   265.  Christ  in  the  House  of  Martha. 

Carrara,  hi.  A  Lady  dressed  as  a  Queen. 

298.  Portrait  of  Procurator. 

299.  The  same. 

300.  Madonna  with  SS.  Mark  and  Luke. 
310.  Luna,  and  the  Hours. 

316.  Procurator  before  St.  Mark. 

145.  Visitation.  Corridor  IV.  Portrait  of  Man. 

Tosio,  Sala  XIII,  14.  An  Old  Man. 

S.  Afra,  Transfiguration. 

174.  Lady  dressed  in  Mourning.  269.  The 
Rescue.    270,  Two  Gentlemen. 

Christ  washing  the  feet  of  the  Disciples. 

Pitti,  65,  70.  Portraits  of  Men.  83.  Portrait  of 
Luigi  Cornaro.  131.  Portrait  of  Vincenzo 
Zeno. 

Uffizi,  378.  Portrait  of  himself.  577.  Bust  of 
Young  Man.  601.  Admiral  Venier.  615 
Portrait  of  Old  Man.  638.  Portrait  of 
Jacopo  Sansovino.  649.  Portrait  of  Man. 
Court.  69.  Esther  before  Ahasuerus.  77.  Nine 
Muses.  78.  Portrait  of  Dominican.  91. 
Knight  of  Malta.  120.  Portrait  of  a  Senator. 

16.  St.  George  and  Dragon.  11 30.  Christ  wash- 
ing feet  of  Disciples.  1313.  Origin  of  the 
Milky  Way. 

Bridgewater  House, ^Entombment.  Portrait 
of  Man. 

Mr.  Doetsch,  Portrait  of  Lady. 
Dorchester  House,  Two  Portraits.  Raising 
of  Lazarus. 


THE  VENETIAN  PAINTERS 


HQ 


London  {Con.)  Mr.  Butler,  Moses  striking  Rock.  Portrait 
of  Senator. 
Sir  Wm.  Farrer,  The  Resurrection. 
Mr.  Mond,  Galleys  at  Sea.    Portrait  of  Gio- 
vanni Gritti. 
Mr.  Salting,   Portrait  of  Ottavio  di  Stra, 
1567. 

Sala  I,  45.  Portrait  of  Man. 


Lucca. 
Madrid. 


410. 


424. 
425. 
426. 
427. 


Milan. 


Battle  on  Land  and  Sea. 

422.  Joseph  and  Potiphar's  Wife. 

423.  Solomon  and  the  Queen  of  Sheba. 
Susanna  and  the  Elders. 
Finding  of  Moses. 
Esther  before  Ahasuerus. 
Judith  and  Holofernes. 

Brera,  217.  Pieta.    230.  St.  Helen,  three  other 
Saints,  and  two  donors.    234  bis.  Finding 
of  Body  of  St.  Mark.  E. 
Museo  Civico,  86.  Bust  of  Procurator. 
Panshanger.  Lord  Cowper,  Portrait  of  Man. 
Paris.  1464.  Susanna  and  the  Elders.    1465.  Paradise. 

1467.  Portrait  of  Old  Man. 
Richmond.  Sir  F.  Cook,  St.  John  the  Baptist.    Portrait  of 
Senator. 

Capitol,    The  Baptism.     The  Ecce  Homo. 

The  Flagellation. 
Colonna,  Three  Women  and  a  Man  adoring 
the  Holy  Spirit.    Old  Man  playing  Spin- 
net.    Man  with  a  pointed  Beard.  Young 
Man. 

Doria,  131.  Portrait  of  Man. 
162.  The  Trinity. 

Academy,  Sala  VII,  52.    S.    Giustina  and 
three  donors. 
Sala  VIII,  6.  Madonna,  three  Saints,  and 
three  Donors,  1566. 


Rome. 


Turin. 
Venice. 


120 


WORKS  OF 


Venice  {Con.).  Sala  IX,  3.  Portrait  of  Cardinal  Morosini. 
19.  Portrait  of  a  Senator. 
36.  Deposition. 
42.  Senator  in  Prayer. 

Sala  XIV,  2.  Portrait  of  Jacopo  Soranzo, 

1564.    11.  Andrea  Capello.  E. 
Ceiling  :  Prodigal  Son,  Four  Virtues. 
Sala  XV,  2.  Death  of  Abel. 

3.  Two  Senators. 

4.  Miracle  of  St.  Mark,  1548. 

5.  Adam  and  Eve. 

6.  Two  Senators. 

SALA  XVI,  1.   Resurrected  Christ  blessing 

three  Senators. 
3.  Madonna,  and  three  portraits. 
11  bis.  Crucifixion. 
23.  Resurrection. 
Palazzo  Ducale,  Collegio,  Doge  Mocenigo 

recommended   to  Christ   by    St.  Mark. 

Figures  in  grisaille  around  the  Clock. 
Doge  Daponte  before  the  Virgin. 
Marriage  of  St.  Catherine  and  Doge  Dona. 
Doge  Gritti  before  the  Virgin. 
Ante-Collegio,  Mercury  and  Three  Graces. 
Vulcan's  Forge.      Bacchus   and  Ariadne. 

Minerva  expelling  Mars  :  All,  1578. 
Ante-Room    of  Chapel,   SS.  Margaret, 

George,  and  Louis. 
SS.  Andrew  and  Jerome. 
Senato,  St.  Mark  presenting  Doge  Loredan  to 

the  Virgin  in  presence  of  two  other  Saints. 
Sala  Quattro  Porte,  Ceiling  (in  part). 
Ingresso,  Lorenzo  Amelio,  1570.  Alessandro 

Bono.    Vincenzo  Morosini,  1580.  Nicolo 

Priuli.  Ceiling. 


THE  VENETIAN  PAINTERS 


I2t 


Venice  (Con.).  Passage  to  Council  of  Ten,  Andrea  Del- 
phino,  1573.    A.  Cicogna. 

Federigo  Contarini,  1570. 

Nobles  Illumined  by  Holy  Spirit. 

Sala  del  Gran  Consiglio,  Paradise,  1590. 

Sala  dello  Scrutino,  Battle  of  Zara. 
Palazzo  Reale,  Libreria,  Transportation  of 
Body  of  St.  Mark. 

St.  Mark  rescues  a  shipwrecked  Saracen. 

Diogenes,  Archimedes,  and  two  other  philos- 
ophers on  separate  canvases  :  All  E. 

Another  Room.  St.  Roch. 
Prince  Giovanelli,  Battle  Piece.    Portrait  of 
Senator.    Portrait  of  General.    Portrait  of 
Warrior. 

S.  Cassiano,  Crucifixion,  Christ  in  Limbo. 
Resurrection. 

Gesuiti,  Assumption  of  Virgin.  Circumcision. 

S.  Giorgio  Maggiore,  Last  Supper.  Gather- 
ing of  Manna.  Entombment. 

S.  Giuseppe  di  Castello,  Michael  overcoming 
Lucifer. 

S.  Maria  Mater  Domini,  Finding  of  True 
Cross. 

S.  Maria  dell'  Orto,  Last  Judgment.  E. 
Martyrdom  of  Paul.  The  Tablets  of  the 
Law  and  the  Golden  Calf.  E.  Martyrdom 
of  St.  Agnes.    Presentation  of  Virgin.  E. 

S.  Marziale,  Glory  of  S.  Marziale. 

S.  Paolo,  Last  Supper.    Assumption  of  Virgin. 

S.  Rocco,  Annunciation.  Pool  of  Bethesda. 
St.  Roch  and  the  Beasts  of  the  Field.  St. 
Roch  healing  the  Sick.  St.  Roch  in  Campo 
d'Armata.  St.  Roch  consoled  by  an  Angel. 
St.  Roch  before  the  Pope. 


works  op 


Venice  (Con.).  Scuola  di  S.  Rocco,  Ground  Floor,  all  the 
paintings  on  walls. 
Staircase,  Visitation. 

Upper  Floor,  Hall,  All  the  paintings  on  walls 
and  ceiling.    Portrait  of  himself,  1573. 

Inner  Room,  Crucifixion,  1565.  Christ  before 
Pilate.  Ecce  Homo.  Way  to  Golgotha. 
Ceiling,  1560.  Altogether,  sixty-two  paint- 
ings. 

Salute,  Marriage  of  Cana,  1561. 
S.  Silvestro,  Baptism. 

S.  Stefano.    Last  Supper.    Washing  of  Feet. 
Agony  in  Garden. 

S.  Trovaso,  Temptation  of  St.  Anthony. 

S.  Zaccaria,  Birth  of  Virgin. 
Vicenza.      Entrance  Hall,  42.  St.  Augustine  healing  the 

Plague-stricken. 
Vienna.       459.  St.  Jerome.  E. 

460.  Susanna  and  the  Elders.  E. 

465.  Sebastian  Venier. 

468.  An  Officer  in  Armour. 

470.  Portrait  of  Procurator. 

473.  Portrait  of  Senator. 

474.  Old  Man  and  Boy. 

475.  47°.  477-  Portraits  of  Men. 
478.  Portrait  of  Man,  1553. 

480.  Portrait  of  Youth. 

481.  Portrait  of  Man. 

482.  Portrait  of  Old  Man. 

483.  484,  485,  486.  Portraits  of  Men. 
511.  Portrait  of  Lady. 

Sala  VII,  Portrait  of  Man. 
Woburn  Abbey.  36.  Portrait  of  Man.  L. 


THE  VENETIAN  PAINTERS  12$ 


TITIAN. 

1477-1576.    Pupil  of  the  Bellini,  formed  by  Giorgione. 

Ancona.       8.  Crucifixion.  L. 

S.  Domenico,  Madonna  with  SS.  Francis,  Blaise, 

and  Donor,  1520. 
Antwerp.     357.  Alexander  VI    presenting   Baffo    to  St. 

Peter.  E. 

Ascoli.         St.  Francis  receiving  the  Stigmata. 

Berlin.         160A.  Infant  Daughter  of  Roberto  Strozzi,  1542. 

163.  Portrait  of  himself.  L. 

166.  His  own  Daughter  Lavinia. 
Brescia.      S.  Nazaro  e  Celso,  Altar-piece  in  five  parts, 
1522. 

Dresden.      168.  Madonna  with  four  Saints.  E. 

169.  Tribute  Money.  E. 

170.  Lavinia  as  Bride,  1555. 

171.  Lavinia  as  Matron.  L. 

172.  Portrait  of  Man,  1561. 

173.  A  Lady  with  a  Vase.  L. 

175.  Madonna  with  a  Family  as  Donors  (in  part 
only).  L. 

176.  Lady  in  Red  Dress. 

Florence.     Pitti,  18.    "  La  Bella,"   Eleanora  Gonzaga, 
Duchess  of  Urbino. 
54.  Pietro  Aretino,  1545. 
67.  Magdalen. 
92.  Portrait  of  Young  Man. 
185.  The  Concert.  E. 

200.  Phillip  II. 

201.  Ippolito  di  Medici,  1533. 
215.  Full-length  Portrait  of  Man. 
228.  Head  of  Christ. 

495.  "  Tommaso  Mosti." 

Uffizi,  599.   Eleanora  Gonzaga,  Duchess  of 
Urbino,  1537. 


124 


WORKS  OF 


Florence  {Con.).  605.    Fr.  Maria  della  Rovere,  Duke  of 
Urbino,  1537. 
626.  Flora.  E. 

633.  Madonna  with  St.  Antony  Abbot.  E. 

1 108.  Venus — the  head  a  portrait  of  Lavinia.  L. 

1116.  Portrait  of  Beccadelli,  1552. 

1 1 17.  Venus — the  head  a  portrait  of  Eleanora 
Gonzaga. 

Genoa.        Balbi-Senarega,  Madonna  with  SS.  Catherine, 

Domenic,  and  a  Donor.  E. 
Hampton  Court.    113.  Portrait  of  Man,  1546.    149.  Por- 
trait of  Man. 
London.      4.  Holy  Family  and  Shepherd. 

35.  Bacchus  and  Ariadne.  E. 

270.  "  Noli  me  Tangere."  E. 

635.  Madonna  with  SS.  John  and  Catherine,  1533. 

Bridgewater  House,  Holy  Family.  E.  "The 
Three  Ages."  E. 

Venus  Rising  from  the  Sea. 

Diana  and  Actseon.  1559. 

Calisto.  1559. 

Mr.  Mond,  Madonna.  L. 
Madrid.       236.  Madonna  with  SS.  Ulfus  and  Bridget.  E. 

450.  Bacchanal. 

451.  Venus  Worship. 

452.  Alfonso  of  Ferrara,  15 18. 

453.  Charles  V.  and  his  dog,  1 533. 

454.  Phillip  II.  in  Armor,  1550. 

456.  The  Forbidden  Fruit.  L. 

457.  Charles  V.  on  Horseback,  1548. 

458.  Danae,  1554. 

459.  Venus,  and  Youth  playing  Organ.  L. 

461.  Salome  (Portrait  of  Lavinia). 

462.  Trinity,  1554. 

463.  Knight  of  Malta.  L, 

464.  Entombment,  1559. 

465.  Sisyphus.  L. 


THE  VENETIAN  PAINTERS  12$ 


Madrid  (Con.).  466.  Prometheus.  L. 

469.  St.  Margaret.  L. 

470.  Phillip  II.  offering  Infant  Don  Fernando  to 
Victory.  L. 

471.  Allocution  of  Alfonso  d'Avalos,  1541, 

476.  Religion  Succoured  by  Spain.  L. 

477.  Portrait  of  himself. 
480.  Portrait  of  Man. 

485.  The  Empress  Isabel,  1544. 
Medole  (near  Brescia).     Duomo,  Christ  appearing  to  his 

Mother.  L. 
Milan.         Brera,  248.  St.  Jerome.  L. 

288  bis.  Antonio  Porcia. 
Munich.       mo.  "  Vanitas."  E. 

mi.  Portrait  of  Man.  E. 

1 1 12.  Portrait  of  Charles  V.,  1548. 

1 1 13.  Madonna.  L. 

1 1 14.  Christ  Crowned  with  Thorns.  L. 
Naples.        Scuola  Veneta,  20.  Paul  III.,  Ottaviano,  and 

Card.  Farnese,  1545. 
Padua.        Scuola  del  Santo,  Frescoes :   St.  Anthony 
granting  Speech  to  an  Infant.    The  Youth 
who  cut  off  his  Leg.   The  Jealous  Husband. 
All,  1511. 

Paris.  1577-  Madonna  with  SS.  Stephen,  Ambrose,  and 

Maurice.  E. 

1578.  "  La  Vierge  au  Lapin." 

1579.  Madonna  with  St.  Agnes. 
1581.  Christ  at  Emaus.  L. 

1583.  Crowning  with  Thorns.  L. 

1584.  Entombment. 

1585.  St.  Jerome.  L. 

1587.  "  Venus  del  Prado."  L. 

1588.  Portrait  of  Francis  I. 

1589.  Allegory. 

1590.  "Alfonso  of  Ferrara  and  Laura  Dianti." 


126 


WORKS  OF 


Paris  (Con.).  1591.  Portrait  of  Man  with  Hand  in  Belt. 

1592.  "  The  Man  with  the  Glove."  E. 

1593.  Portrait  of  Man  with  Black  Beard. 
Rome.         Villa  Borghese,  147.  Sacred  and  Profane  Love. 

E. 

188.  St.  Dominic.  L.  170.  Education  of  Cu- 
pid. L. 

Capitol,  143.   Baptism,  with  Zuane  Ram  as 

Donor.  E. 
Doria,  Daughter  of  Herodias.  E. 
Vatican,  Madonna  in  Glory  with  six  Saints, 

1523. 

Serravalle.  Duomo,  Madonna  in  Glory,  with  SS.  Peter  and 

Andrew,  1547. 
Treviso.      Duomo,  Annunciation. 

Urbino.  39.  The  Resurrection.  L.  42.  Last  Supper.  L. 
Venice.       Academy,  Sala  VII,  21.  Presentation  of  Virgin 

in  Temple,  1540. 
Sala  IX,  16.  St.  John  in  the  Desert. 
Sala  XV,  1.  Assunta,  1518. 
Sala  XVI,  4.  Pieta,  begun  in  1573,  not  quite 

finished  at  Titian's  death. 
Palazzo  Ducale,  Staircase  to  Doge's  private 

apartments,  Fresco:  St.  Christopher,  1523. 
Sala  di  Quattro  Porte,  Doge  Grimani  before 

Faith,  1555, 

Palazzo  Reale,  on  ceiling  of  ante-room  to 
Libreria,  Wisdom.  L. 

GlOVANELLi,  Portrait  of  Man.  L. 

Frari,  Pesaro  Madonna,  1526. 

Gesuiti,  Martyrdom  of  St.  Lawrence.  L. 

S.  Giovanni  Elemosinario,  St.  John  the  Alms- 
giver,  1533. 

S.  L10,  St.  James  of  Compostella.  L. 

S.  Marcuolo,  The  Christ  Child  between  SS. 
Catherine  and  Andrew.  E. 

S.  Marziale,  Tobias  and  the  Angel,  1540. 


THE  VENETIAN  PAINTERS 


127 


Venice  (Con.).  Scuola  Dl  S.  Rocco,  Annunciation.  Dead 
Christ.    (?)  E. 

Salute,  Descent  of  Holy  Spirit.  L. 

Ceiling  of  Choir  :  Eight  Medallions,  one  a  Por- 
trait of  Titian  himself,  the  rest  Heads  of 
Saints. 

Sacristy,  St.  Mark  between  SS.  Roch,  Sebastian, 
Cosmas,  and  Damian.  E. 

Salute,  Sacristy,  Ceiling,  David  and  Goliath. 
Sacrifice  of  Isaac.    Cain  slaying  Abel. 

S.  Salvatore,  Annunciation.  L.  Transfigu- 
ration. L. 

S.  Sebastiano,  St.  Nicholas  of  Bari  (in  part), 
1563. 

Verona.        51.  Portrait  of  Ferdinand,  King  of  the  Romans. 
Duomo,  Assumption  of  Virgin. 
♦   Vienna.       489.  "  Gipsy  Madonna."  E. 

490.  4 '  Madonna  with  the  Cherries."  E. 
494.  "  The  Large  Ecce  Homo,"  1543. 
502.  "  The  Little  Tambourine  Player."  E. 

505.  Isabella  d'Este,  1534. 

506.  "Das  Madchen  im  Pelz  "  (Eleanora  Gon- 
zaga). 

507.  "  Benedetto  Varchi." 

517.  "  The  Physician  Parma."  E. 

518.  John  Frederick  of  Saxony,  1548. 
520.  Fabrizio  Salvaresio,  1553. 

522.  Jacopo  di  Strada,  1566. 

523.  Shepherd  and  Nymph.  L. 
CzOrnin,  Portrait  of  Doge  Gritti. 

PAOLO  VERONESE. 

1528-1588.    Pupil  of  Antonio  Badile,  strongly  influenced  by 

Dom.  Brusasorci. 
Dresden.      224.  Madonna  with  Cuccina  Family, 

225.  Adoration  of  Magi. 

226.  Marriage  of  Cana. 


128 


WORKS  OF 


Dresden  (Con.).  229.  Finding  of  Moses  (in  part  only). 
Florence.     Pitti,  216,  Portrait  of  Daniel  Barbaro. 

Ufpizi,  589.  Martyrdom  of  S.   Giustina.  E. 
1 136.    Holy  Family  and  St.  Catherine. 
Hampton  Court.  Madonna  and  Saints.  (?) 
London.       26.    Consecration  of  St.  Nicolas. 

294.  Alexander  and  the  Family  of  Darius. 

Dr.  Richter,  Holy  Family.  E. 
Madrid.       528.  Christ  and  the  Centurion. 

532.  Finding  of  Moses.  (?) 
Maser.        Villa  Barbaro,  Frescoes. 
Milan.         Brera,   227,  SS.   Anthony,    Cornelius,  and 

Cyprian,  and  Page. 
Padua.        S.  Giustina,  Martyrdom  of  St.  Giustina. 
Paris.  1 196.  Christ  at  Emaus. 

1 199.  Young  Mother  and  Child.  E. 

1 192.  Marriage  of  Cana. 
Rome.         Colonna,  Portrait  of  Man  in  Green. 

Villa  Borghese,  ioi.  St.  Anthony  preaching 
to  the  Fishes. 

Venice.       Academy,  Sale  Palladiane,  63.   Battle  of 
Lepanto. 

SALA  VIII,  21.  Feast  in  House  of  Levi,  1573. 
Sala  XV,  9.  Madonna  with  SS.  Joseph,  John, 
Francis,  Jerome,  and  Giustina. 

Palazzo  Ducale,  Collegio,  Thanksgiving  for 
Lepanto. 
Ante-Collegio,  Rape  of  Europa. 

S.  Barnaba,  Holy  Family. 

S.  Caterina,  Marriage  of  St.  Catherine. 

S.  Francesco  della  Vigna,  Holy  Family  with 
SS.  Catherine  and  Antony  Abbot. 

S.  Sebastiano,  Madonna  and  two  Saints.  Cru- 
cifixion. Madonna  in  Glory  with  St.  Sebas- 
tian and  other  Saints.  SS.  Mark  and  Mar- 
cilian  led  to  Martyrdom  (in  part).  St. 
Sebastian  being  Bound.  (?) 


THE  VENETIAN  PAINTERS  1 29 


Venice  {Con.).  Frescoes  :  SS.  Onofrio  and  Paul  the  Hermit. 

SS.  Matthew  and  Mark.  SS.  Roch,  Andrew, 
Peter,  and  Figure  of  Faith.    Tiburtine  and 
Cumaean  Sibyls. 
Verona.       267.  Portrait  of  Pasio  Guadienti,  1556.  245. 
Deposition.  (?) 
S.  Giorgio,  Martyrdom  of  St.  George. 
S.  Paolo,  Madonna  and  Saints.  E. 
Vicenza.      Sala  II,  12.  Madonna. 

Monte  Berico,  Feast  of  St.  Gregory,  1572. 
Vienna.       579.  Christ  at  the  House  of  Jairus. 

ALVISE  VIVARINI. 

Active  1461-1503.    Pupil  of  his  relative,  Bartolommeo. 
Berlin.         38.  Madonna  enthroned  with  six  Saints. 
Florence.     Mr.  Charles  Loeser,  Madonna. 
London.      Sir  Charles  Robinson,  Portrait  of  Man 

Mr.  Salting,  Portrait  of  Youth. 
Milan.         Bonomi-Cereda,  Portrait  of  Man,  1497. 

Bagati-Valsecchi,  S.  Giustina  dei  Borromei. 
L. 

Montefiorentino.    Polyptych,  1475. 


Naples.        Scuola  Veneta,  I.  Madonna  with  SS.  Francis 

and  Bernardino,  1485. 
Padua.         1371.  Portrait  of  a  Man. 
Paris.  1519.  Portrait  of  a  Man.  L. 

Venice.       Academy,  Sala  I,  16.  St.  Matthew.    22.  St. 

John  the  Baptist.     23.  St.  Sebastian.  E. 

24.  St.  Antony  Abbot.    E.    25.  St.  John 

Baptist.  E.  26.  St.  Laurence.  E.    27.  St. 

Clare. 

SALA  III,  33.  Head  of  Christ.  L. 
Sala  IX,  11.  Madonna  and  six  Saints,  1480. 
Museo  Correr,  Sala  IX,  44.  St.  Antony  of 
Padua. 

Frari,  St.  Ambrose  enthroned  and  Saints.  Be- 
gun in  1503,  finished  by  Basaiti. 


130 


THE  VENETIAN  PAINTERS 


Venice  {Con.).  S.  Giovanni  in  Bragora,  Madonna.  Head  of 
Christ,  1493.    Resurrection,  1498.  Predelle 
to  last.    Busts  of  Saviour,  John,  and  Mark. 
S.  Giovanni  e  Paolo,  Christ  bearing  Cross. 
Redentore,  Sacristy,  Madonna. 
Lady  Layard,  Portrait  of  Man. 
Seminario,  Stanza  del  Patriarco,  Portrait 
of  Man.  L. 
Vienna.       595.  Madonna,  1489. 
Windsor  Castle.    Portrait  of  Man  with  Hawk. 

BARTOLOMMEO  VIVARINI. 


Active  1450-1499.   Pupil  of  Giovanni  and  Antonio  da  Murano  ; 
influenced  by  Paduans. 

Bergamo.     Frizzoni-Salis,  Madonna  and  two  Saints. 
Berlin.         27.  Madonna. 

Fermo.  Count  Bernetti.  SS.  Francis  and  James. 
London.       284.  Madonna  with  SS.  Paul  and  Jerome. 

.    Mr.  Butler,  Madonna. 
Naples.        Sala  Veneta,  5.  Madonna  enthroned,  1465. 
Paris.  1607.  St.  John  Capistrano,  1459. 

Turin.         Madonna,  1481. 

Venice.  Academy,  Sala  I,  1.  Altar-piece  in  five  parts, 
1464.  15.  Mary  Magdalen.  21.  St.  Bar- 
bara, 1490. 

Frari,  Madonna  and  four  Saints,  1482. 

S.  Giovanni  in  Bragora,  Madonna  between 
SS.  Andrew  and  John,  1478. 

S.  Giovanni  e  Paolo,  St.  Augustine,  1473. 
SS.  Dominic  and  Lawrence. 

S.  Maria  Formosa,  Triptych  :  Madonna,  Birth 
of  Virgin,  Meeting  of  Joachim  and  Anne, 
1473. 

Vienna.  594.  St.  Ambrose  between  SS.  Peter,  Louis, 
Paul,  and  Sebastian,  1477- 


INDEX  OF  PLACES. 


Alzano.  Church  :  Lotto. 
Amiens.  Guardi,  Tiepolo. 
Ancona.       Gallery  :  Crivelli,  Lotto,  Titian. 

S.  Domenico  :  Titian. 
Antwerp.     Gallery  :  Antonello,  Titian. 
Ascoli.         Duomo  :  Crivelli.    Gallery  :  Titian. 
Asolo.         Church  :  Lotto. 

Augsburg.   Gallery  :  Barbari,  Bassano,  Tintoretto. 
Bassano.     Gallery,  Duomo,  and  S.  Giovanni  :  Jacopo 
Bassano. 

Bergamo.  Gallery,  Carrara  Collection:  Bartolom- 
meo  Veneto,  Basaiti,  Bassano,  Bonifazio, 
Cariani,  Catena,  Lotto,  Previtali,  Tintoretto. 

Lochis  Collection  :  Antonello,  Barbari, 
Bartolommeo  Veneto,  Basaiti,  Giovanni  Bel- 
lini, Bonsignori,  Bordone,  Cariani,  Crivelli, 
Guardi,  Licinio,  Lotto,  Montagna,  Palma 
Vecchio,  Previtali. 

Morelli  Collection  :  Basaiti,  Giovanni 
Bellini,  Cariani,  Cima, P.  Longhi,  Montagna. 
Private  Collections. 

Baglioni  :  Cariani,  Guardi,  Longhi,  Previtali, 
Tiepolo. 

Frizzoni-Salis  :  Barbari,  Basaiti,  Bassano, 
Bonifazio,  Montagna,  Bartolommeo  Vi- 
varini. 

Moroni  :  Guardi,  Previtali. 
Piccinelli  :   Basaiti,   Cariani,  Licinio,  Lotto, 
Tiepolo. 

131 


I32  THE   VENETIAN  PAINTERS 


Bergamo  (Con.).  Roncalli  :  Bartolommeo  Veneto,  Cariani. 
Suardi  :  Cariani,  Bassano. 
Churches. 

S.  Alessandro  in  Croce  :  Lotto. 
S.  Alessandro  in  Colon na  :  Lotto. 
S.  Andrea  :  Previtali. 
S.  Bartolommeo  :  Lotto. 
S.  Bernardino  :  Lotto. 
Colleoni  Chapel  :  Tiepolo. 
Duomo  :  Cariani,  Previtali,  Tiepolo. 
S.  Maria  Maggiore  :  Lotto,  Previtali. 
S.  Michele  :  Lotto. 
S.  Spirito  :  Lotto,  Previtali. 
Belluno.       Gallery  :  Bartolommeo  Veneto,  Montagna. 
Berlin.         Antonello,  Barbari,  Basaiti,  Giovanni  Bellini, 
Bissolo,  Bordone,  Cariani,  Carpaccio,  Ca- 
tena,   Cima,    Crivelli,  Giorgione,  Guardi, 
Lotto,  Montagna,  Palma,  Previtali,  Savoldo, 
Sebastiano  del  Piombo,  Rondinelli,  Tiepolo, 
Tintoretto,  Titian,  Alvise  Vivarini,  Barto- 
lommeo Vivarini. 
Bologna.      Gallery  :  Bassano,  Cima,  Tintoretto. 
Brescia.       Gallery  Tosio  :  Bissolo,  Lotto,  Tintoretto. 
S.  Afra  :  Tintoretto. 
S.  Alessandro  :  Jacopo  Bellini. 
S.  Nazaro  e  Celso  :  Titian. 
Brunswick.  Gallery  :  Palma  Vecchio. 
Brussels.  Crivelli. 

Buda-Pesth.   Gentile  Bellini,  Catena,  Crivelli,  Giorgione, 
Licinio. 

Cambridge.    Fitzwilliam  Museum  :  Guardi,  Palma. 
Campo  S.  Piero.  Oratory  of  S.  Antonio  :  Bonifazio  (in 
part). 

Casarsa.      Parish  Church  :  Pordenone. 
Castelfranco.  Church  :  Giorgione. 
Ceneda.       Madonna  di  Meschio  :  Previtali. 
Certosa  (near  Pavia).  Montagna. 


INDEX  OF  PLACES 


133 


Celana  (near  Bergamo).  Lotto. 
Cingoli.       S.  Domenico  :  Lotto. 
Cittadella.  Duomo  :  Bassano. 
Colalto.       S.  Salvatore  :  Pordenone. 
Cologne.     Gallery  :  Bordone. 
Conegliano.  Duomo  :  Cima. 
Costa  di  Mezzate  (near  Gorlago).  Lotto. 
Cremona.     Duomo  :  Pordenone. 
Douai.         Bartolommeo  Veneto. 

Dresden.      Antonello,  Barbari,  Bartolommeo  Veneto,  Bas- 
sano, Bonifazio,  Bordone,  Canaletto,  Catena, 
Cima,  Giorgione,  Licinio,  Longhi,  Lotto, 
Palma  Vecchio,  Previtali,  Tintoretto,  Titian, 
Veronese. 
Escurial.  Tintoretto. 
Feltre.         Seminario  :  Bassano. 
Ferrara.      Gallery  :  Carpaccio. 
Fermo.        Carmine  :  Rondinelli. 

Casa  Bernetti  :  Savoldo,  B.  Vivarini. 
Florence.     Pitti  :   Barbari,    Bonifazio,    Bordone,  S.  del 
Piombo,  Tintoretto,  Titian,  Veronese. 
Uffizi  :   Bartolommeo  Veneto,  Bassano,  Gio- 
vanni Bellini,  Bordone,  Canaletto,  Carpac- 
cio,    Giorgione,    Licinio,    Lotto,  Palma 
Vecchio,  S.  del  Piombo,  Rondinelli,  Tinto- 
retto, Titian,  Veronese. 
Palazzo  Panciatichi  :  Crivelli. 
v  Mr.  Loeser  :  Savoldo,  Longhi,  Alvise  Vivarini. 
Forli.  Gallery  :  Rondinelli. 

Duomo  :  Rondinelli. 
Frankfort.  Gallery  :  Bartolommeo  Veneto,  Crivelli. 
Genoa.         Brignole-Sale  :      Bordone,    Licinio,  Palma 
Vecchio. 

Prince  Giorgio  Doria  :  Bartolommeo  Veneto. 
Palazzo  Balbi-Senarec.a  :  Titian. 
S.  Annunziata  :  Bissolo. 
Hague.        Gallery  :  Bonifazio. 


134  THE   VENETIAN  PAINTERS 


Hampton  Court.  Bassano,  Bissolo,  Bonifazio,  Bordone, 
Canaletto,  Cariani,  Giorgione,  Licinio, 
Pietro  Longhi,  Lotto,  Palma  Vecchio,  Sa- 
voldo,  Tintoretto,  Titian. 

Jesi.  Library  :  Lotto. 

Municipio  :  Lotto. 

Lille.  Bonifazio. 

London.  National  Gallery  :  Antonello,  Bartolommeo 
Veneto,  Basaiti,  Bassano,  Gentile  Bellini, 
Giovanni  Bellini,  Bonifazio,  Bonsignori, 
Bordone,  Canaletto,  Cariani,  Carpaccio, 
Catena,  Cima,  Crivelli,  Guardi,  Licinio, 
Pietro  Longhi,  Lotto,  Palma  Vecchio,  Pre- 
vitali,  Savoldo,  Sebastiano  del  Piombo, 
Tiepolo,  Tintoretto,  Titian,  Veronese,  Bar- 
tolommeo Vivarini. 

Lady  Ashburton  :  Crivelli,  Guardi,  Licinio. 

Bridgewater  House  :  Bordone,  Lotto,  Tinto- 
retto, Titian. 

Mr.  W.  B.  Beaumont  :  Catena.  (?) 

Mr.  R.  H.  Benson  :  Bartolommeo  Veneto,  Ba- 
saiti, Bassano,  Bissolo,  Bonifazio,  Cariani, 
Carpaccio,  Catena,  Crivelli,  S.  del  Piombo. 

Mr.  C.  Butler  :  Bassano,  Bonifazio,  Licinio, 
Tintoretto,  Bartolommeo  Vivarini. 

Prof.  Conway  :  Lotto. 

Mr.  Doetsch  :  Barbari,  Bassano,  Cariani, 
Guardi,  Licinio,  Savoldo,  Tintoretto. 

Dorchester  House  :  B.  Veneto,  Canaletto, 
Lotto,  Pordenone,  Tintoretto. 

Sir  Wm.  Farrer  :  Cariani,  Guardi,  Montagna, 
Tintoretto. 

Duke  of  Grafton  :  S.  del  Piombo. 

Mr.  T.  P.  Hezeltine  :  Catena. 

Mr.  Ludwig  Mond  :  Giovanni  and  Gentile 
Bellini,  Bissolo,  Canaletto,  Catena,  Cima, 
Crivelli,  Guardi,  P.  Longhi,  Palma,  Savoldo, 
S.  del  Piombo,  Tintoretto,  Titian. 


INDEX  OF  PLACES 


135 


London  (Con.).    Mr.  Alfred  Morrison  :  Bonsignori. 
Lord  Northbrook  :  Crivelli. 
Dr.  J.  P.  Richter  :   Giovanni  Bellini,  Boni- 
fazio,  Bordone,  Canaletto,  Catena,  Guardi, 
Tiepolo,  Veronese. 
Sir  Charles  Robinson  :  Alvise  Vivarini. 
Mr.  Salting  :  Basaiti,  Cariani,  Guardi,  Tinto- 
retto, Alvise  Vivarini. 
Loreto.       Palazzo  Apostolico  :  Lotto. 
Lovere.       Gallery  Tadini  :  Jacopo  Bellini,  Bordone. 
Lucca.         Gallery  :  Tintoretto. 
Macerata.   Gallery:  Crivelli. 

Madrid.       Giorgione,  Lotto,  S.  del  Piombo,  Tintoretto, 

Titian,  Veronese. 
Mantua.      Accademia  Virgiliana  :  Bonsignori. 
Maser.        Villa  Barbaro  :  Veronese. 
Massa  Fermana.   Municipio  :  Crivelli. 
Medole  (near  Brescia).    Duomo  :  Titian. 
Milan.         Brera  :  Gentile  Bellini,  Giovanni  Bellini,  Bisso- 
lo,  Bonifazio,  Bonsignori,  Bordone,  Cariani, 
Carpaccio,  Cima,  Crivelli,  Lotto,  Montagna. 
Palma  Vecchio,  Previtali,  Rondinelli,  Sa- 
voldo,  Tintoretto,  Titian,  Veronese. 
Poldi-Pezzoli  :    Bonifazio,   Crivelli,  Guardi, 

Lotto,  Montagna,  Tiepolo. 
Museo  Civico  :   Antonello,  Cariani,  Crivelli, 

Guardi,  Licinio,  Lotto,  Rondinelli. 
Ambrosiana  :    Bartolommeo  Veneto,  Basaiti, 

Bassano,  Bonifazio,  Cariani,  Savoldo. 
Archbishop's  Palace  :  Bordone,  Licinio. 
Bagati-Valsecchi  :  Alvise  Vivarini. 
Borromeo  :  Bartolommeo  Veneto,  Lotto. 
Bonomi-Cereda  :     Cariani,    Previtali,  Alvise 

Vivarini. 
Palazzo  Chierici  :  Tiepolo. 
Crespi  :  Licinio. 

Dr.  Gust.  Frizzoni  :  Giovanni  Bellini,  Cariani 
Lotto,  Montagna,  Previtali. 


* 


136 


THE   VENETIAN  PAINTERS 


Milan  (Con.).  Sormani  :  Canaletto. 

Prince  Trivulzio  :  Antonello. 

S.  Maria  presso  Celso  :  Bordone. 
Modena.      Gallery  ;  Bonifazio,  Cima,  Licinio. 
Montefiorentino.    Alvise  Vivarini. 
Monte  San  Giusto.  S.  Maria  :  Lotto. 
Motta  di  Livenza.  Scarpa  Gallery  :  S.  del  Piombo. 

S.  Maria  dei  Miracoli  :  Pordenone. 
Munich.       Basaiti,  Bassano,  Bordone,  Cariani,'  Cima,  Lotto, 
Palma,  Tiepolo,  Titian. 

Lotzbeck  Collection  :   Bassano,  Cariani,  Sa- 
voldo. 

Murano.      S.  Pietro  :  Basaiti,  Giovanni  Bellini. 

S.  Maria  degli  Angeli  :  Pordenone. 
Nancy.       B.  Veneto,  Lotto. 

Naples.        Antonello,  Giov.  Bellini,  Lotto,  Palma,  S.  del 
Piombo,  Pordenone  (?),  Titian,  Alvise  Viva- 
rini, Bartolommeo  Vivarini. 
Oxford.       Taylorian  Museum  :  Guardi. 

Christ  Church  Library  :  Previtali. 
Padua.         Gallery  :  Basaiti,  Jacopo  Bellini  (?),  Bordone, 
Catena,  Guardi,  Licinio,  Previtali,  Rondi- 
nelli,  Tiepolo,  Alvise  Vivarini. 
Santo  :  Tiepolo. 

Scuola  del  Santo  :  Montagna,  Titian. 
S.  Giustina  :  Veronese. 
S.  Maria  in  Vanzo  :  Bassano,  Montagna. 
Bishop's  Palace  :  Montagna. 
Panshanger  (Lord  Cowper).    Montagna,  Tintoretto. 
Paris.  Louvre  :  Antonello,  B.  Veneto,  Bassano,  Gentile 

Bellini  (?),  Bonafazio,  Bordone,  Canaletto, 
Cariani,  Carpaccio,  Catena,  Cima,  Crivelli, 
Giorgione,  Guardi,  Lotto,  Montagna,  Palma, 
S.  del  Piombo,  Rondinelli,  Tiepolo,  Tin- 
toretto, Titian,  Veronese,  Alvise  Vivarini, 
Bart.  Vivarini. 
Parma.  Gallery  :  Cima,  S.  del  Piombo,  Tiepolo. 
Pausula.      S.  Agostino  ;  Crivelli. 


INDEX  OF  PLACES 


137 


Peghera.     Church  :  Palma. 

Pesaro.        Gallery  :  Giovanni  Bellini. 

S.  Francesco  :  Giovanni  Bellini. 
Piacenza.    S.  Maria  della  Campagna  :  Pordenone. 
Piove  (near  Padua).    S.  Niccolo  :  Tiepolo. 
Ponteranica  (near  Bergamo).  Church  :  Lotto. 
Pordenone.  Municipio  :  Pordonone. 

Duomo  :  Pordenone. 
Praglia  (near  Padua).    Refectory  :  Montagna. 
Ravenna.    Gallery  :  Rondinelli. 

S.  Domenico  :  Rondinelli. 
Recanati.    Municipio  :  Lotto. 

S.  Domenico  :  Lotto. 

S.  Maria  sopra  Mercanti  :  Lotto. 
Richmond.  Sir  Francis  Cook  :  Antonello,  Bordone,  Cima, 

Crivelli,  Guardi,  Tiepolo,  Tintoretto. 
Rimini.        Municipio  :  Giovanni  Bellini. 
Rome.         Villa  Borghese  :  Antonello,  Bassano,  Bissolo, 
Bonifazio,  Cariani,  Giorgione,  Licinio,  Lotto, 
Palma,  Savoldo,  Titian,  Veronese. 

Capitol  :  Lotto,  Palma,  Rondinelli,  Savoldo, 
Tintoretto,  Titian. 

Chigi  Collection  :  Bonifazio,  Titian. 

Colonna  Gallery  :  Bonifazio,  Bordone,  Palma, 
Tintoretto,  Veronese. 

Doria  Gallery  :  Basaiti,  Bordone,  Lotto,  Ron- 
dinelli, S.  del  Piombo,  Tintoretto,  Titian.  * 
s   Farnesina  :  S.  del  Piombo. 

Lateran  :  Crivelli. 

Rospigliosi  Gallery  :  Lotto. 

Torlonia  :  Bartolommeo  Veneto,  Cariani. 

Vatican  :  Gentile  Bellini  (?),  Crivelli,  Titian. 

S.  Maria  del  Popolo  :  S.  del  Piombo. 

S.  Pietro  in  Montorio  :  S.  del  Piombo. 
Rouen.        Gallery  :  Guardi. 

San  Daniele  (near  Udine).    Duomo  :  Pordenone.  *■ 
Sedrina.      Church  :  Lotto. 
Serina,        Church  ;  Palma. 


I38  THE  VENETIAN  PAINTERS 


Serravalle.  Duomo  :  Titian. 
Seven  Oaks.  Lord  Amherst  :  Savoldo. 
Siena.         Gallery  :  Bordone. 
Spilimbergo.  Duomo  :  Pordenone. 

Strasburg.  Gallery  :  Basaiti,  Bordone,  Cariani,  Crivelli, 

Guardi,  Montagna. 
Stuttgart.   Gallery  :  Basaiti,  Bassano,  Cariani,  Carpaccio; 

Rondinelli. 

St.  Petersburg.  Hermitage  :  Cariani,  S.  del  Piombo. 
Susigana.    Parish  Church  :  Pordenone. 
Trescorre.   Suardi  Chapel  :  Lotto. 
Torre.         Church  :  Pordenone. 
Treviso.      Gallery  :  Bordone,  Lotto. 

S.  Andrea  :  Bissolo. 

S.  Cristina  :  Lotto. 

Duomo  :  Bissolo,  Bordone,  Pordenone,  Titian. 
S.  Niccolo  :  Barbari,  S.  del  Piombo,  Savoldo. 
18  Piazza  del  Duomo  :  Barbari. 
Turin.         Giovanni  Bellini,  Guardi,  Tiepolo,  Tintoretto, 

B.  Vivarini. 
Udine.         Municipio  :  Tiepolo. 

S.  Maria  della  Pieta,  Tiepolo. 
Urbino.       Ducal  Palace  :  Titian. 

Casa  Albani  :  Savoldo. 
Venice.        Academy  :  Antonello,  Basaiti,  Bassano,  Gentile 
Bellini,  Giovanni  Bellini,  Jacopo  Bellini,  Bi^ 
solo,  Bonifazio,  Bordone,  Cariani,  Carpaccio 
Catena,  Cima,  Crivelli,  Guardi,  Licinio,  Lon 
ghi,  Montagna,  Palma  Vecchio,  Pordenone 
Savoldo,  Tiepolo,  Tintoretto,  Titian,  Vero 
nese,  Alvise  Vivarini,  Bartolommeo  Vivarini 
Museo  Correr  :  Basaiti,  Giovanni  Bellini,  Ja 
copo  Bellini  (?),  Bissolo,  Carpaccio,  Guardi 
Longhi,  Rondinelli,  Alvise  Vivarini. 
Palazzo  Ducale  :  Bartolommeo  Veneto,  Bas 
9  sano,  Giovanni  Bellini,  Bonsignori,  Bordone 

Carpaccio,  Catena,  Previtali,  Tintoretto 
Titian,  Veronese. 


INDEX  OF  PLACES 


*39 


Venice  (Con.).  Quirini-Stampalia  :  Catena,  Longhi,  Palma, 
Tiepolo. 

Palazzo  Reale  :  Bassano,  Bonifazio,  Tinto- 
retto, Titian. 

Seminario  :  Giorgione,  Cima,  Tiepolo,  Alvise 
>»  Vivarini. 

Prince  Giovanelli  :  Antonello,  Basaiti,  Boni- 
fazio, Bordone,  Catena,  Giorgione,  Palma, 
Rondinelli,  Tintoretto,  Titian. 

Lady  Layard  :  Barbari,  Gentile  Bellini, 
Bissolo,  Bonifazio,  Bonsignori,  Bordone, 
Carpaccio,  Cima,  Montagna,  Palma,  S.  del 
Piombo,  Previtali,  Rondinelli,  Savoldo, 
Alvise  Vivarini. 

Palazzo  Grassi  :  Longhi. 

Palazzo  Labia  :  Tiepolo. 

Palazzo  Rezzonico  :  Tiepolo. 

S.  Alvise  :  Tiepolo 

Santi  Apostoli  :  Tiepolo. 

S.  Bartolommeo  in  Rialto  :  S.  del  Piombo. 

S.  BarnabA  :  Veronese. 

Carmine  :  Cima,  Lotto. 
Scuola  del  Carmine  :  Tiepolo. 

S.  Cassiano  :  Tintoretto. 

S.  Caterina  :  Veronese. 

S.  Fantino  :  Rondinelli. 

S.  Fava  :  Tiepolo. 

S.  Francesco  della  Vigna  :  Giovanni  Bellini, 
Veronese. 

Frari  :  Barbari,  Giovanni  Bellini,  Licinio, 
Titian,  Alvise  Vivarini,  Bartolommeo  Viva- 
rini. 

Gesuati  :  Tiepolo. 

Gesuiti:  Tintoretto,  Titian. 

S.  Giacomo  dell'  Orio  :  Bassano,  Lotto. 

S.  Giobbe  :  Bordone,  Previtali,  Savoldo. 

S.  Giorgio  Maggiork  ;  Tintoretto. 


140 


THE  VENETIAN  PAINTERS 


Venice  (Con.).  S.  Giorgio  degli  Schiavoni  :  Carpaccio. 

S.  Giovanni  in  Br'agora  :  Bissolo,  Bordone, 
Cima,  Alvise  Vivarini,  Bartolommeo  Vi- 
varini. 

S.  Giovanni  Crisostomo  :  Giovanni  Bellini, 
S.  del  Piombo.  ~ 

S.  Giovanni  Elemosinario  :  Pordenone,  Titian. 

S.  Giovanni  e  Paolo  :  Bonsignori,  Cima, 
Lotto,  Tiepolo,  Alvise  Vivarini,  Barto- 
lommeo Vivarini. 

S.  Guiseppe  in  Castello  :  Tintoretto. 

S.  Lio  :  Titian. 

S.  Marco  :  Gentile  Bellini. 

S.  Marcuolo  :  Titian. 

S.  Maria  Formosa  :  Palma,  Bartolommeo  Vi- 
varini. 

S.  Maria  Mater  Domini  :  Bissolo,  Catena, 
Tintoretto. 

S.  Maria  dell'  Orto  :  Giov.  Bellini,  Cima, 
Tintoretto. 

S.  Maria  della  PietA  :  Tiepolo. 

S.  Marziale:  Tintoretto,  Titian. 

S.  Paolo  :  Tiepolo,  Tintoretto. 

S.  Pietro  di  Castello  :  Basaiti. 

Redentore  :  Bissolo,  Previtali,  Alvise  Vivarini. 

S.  Rocco  :  Giorgione,  Pordenone,  Tintoretto. 

Scuola  Dl  S.  Rocco  :  Tintoretto,  Titian. 

Salute  :  Basaiti,  Tintoretto,  Titian. 

S.  Salvatore  :  Titian. 

Scalzi  :  Tiepolo. 

S.  Sebastiano  :  Titian,  Veronese. 

vS.  Simeon  Profeta  :  Catena. 

S.  StefANO  :  Pordenone,  Tintoretto. 

S.  Trovaso  :  Jacopo  Bellini  (?),  Catena,  Tinto- 
retto. 

S.  Vitale  :  Carpaccio. 

S.  Zaccaria  :  Giovanni  Bellini,  Tintoretto. 


INDEX  OF  PLACES 


I4I 


Verona.       Gallery  :  Basaiti,  Bassano,  Giovanni  Bellini, 
Jacopo  Bellini,  Guardi,  Montagna,  Previtali, 
Tiepolo,  Titian,  Veronese. 
Duomo  :  Titian. 
S.  Giorgio  :  Veronese. 
S.  Nazaro  e  Celso  :  Montagna. 
S.  Paolo  :  Veronese. 
Vicenza.      Gallery  :  Antonello,  Bassano,  Cariani,  Cima, 
Montagna,  Tiepolo,  Tintoretto,  Veronese. 
Palazzo  Loschi  :  Giorgione. 
Villa  Valmarana  :  Tiepolo. 
S.  Corona  :  Giovanni  Bellini,  Montagna. 
Duomo  ;  Montagna. 
S.  Lorenzo  :  Montagna. 
Monte  Berico  :  Montagna,  Veronese. 
S.  Stefano  :  Palma. 
Vienna.       Imperial  Museum  :  Barbari,  Basaiti,  Bassano, 
Bissolo,  Bonifazio,  Bordone,  Cariani,  Car- 
paccio,  Catena,  Cima,  Giorgione,  Licinio, 
Lotto,  Palma,  Previtali,  Savoldo,  S.  del 
Piombo,     Tintoretto,     Titian,  Veronese, 
Alvise  Vivarini,  Bartolommeo  Vivarini. 
Academy  :  Bassano,  Cariani,  Tiepolo. 
CzOrnin  :  Bordone,  Titian. 
Lichtenstein  :    Bordone,    Canaletto,  Palma 
Vecchio,  Savoldo. 
Viterba       Municipio  :  S.  del  Piombo. 
Weimar.  v    Gallkry  :  Barbari, 
Windsor  Castle,    anale,  Alvise  Vivarini. 
Woburn  Abbey.   Bassano,  Canale,  Tintoretto. 
Zogno.       Church  :  Cariani. 


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